the student progressionsof the
of the modernists
learns all the forbidden but when theorists.
mechanician. the student
and vitality
not
an
in music
a
removed
and
usuallybe^
tive conserva-
comes.
subject has been
"
taught by
of
series of rules
too
ously ingeni-
by academicians all spontaneity in the student. period of study
the time
when. and
are
of relative values. somewhat
of the old
enlightened. in
This
doing.
educators have
of
Modem
and psychologists
"
abandoned
the
old ways
age
of
teaching
It has
the
method
of startingevery student.
himself.
in
make
they can
One
and appreciate of the most
enter
into the attractiveness
is in music
conspicuous examples composition. it is to be expected that there will be extremists
the creators this
of
some
among
of
our
products of
who have
and the
music. regardless of the mechanism very of the
are
and
with personality
come
the rudiments be
subject at hand.
art
form.PREFACE.
to the
combinations
turning to
the works
and
even
works
of the older masters.
and
Furthermore. subject.the
futuristic those
and
such
see
a
time. the result
method and of chords
correct
artistic. sometimes
of the order
unintelligible.
DuKiNG
the past few years the art creations
we
have
in the
seen
the
beginningof
arts
a
reactionary
sciences. such
art
seen as
period in
At
we
and
teaching of.
but artist.
was
to him
disobeyed them
of
whether
not.
he is confronted
m
with
parallel perfect
.
endowed with almost
to
recognized that
to
few
persons
sufficient enthusiasm
bridge
to
over
this
irksome.
which the there is
no
student
no
writes
after chain
of chords
meaning.
who
gave
the
or
and rules. above
the bass.and guiding him
student his set of
so
made
a
series of don^ts which
often inhibited
to express
Instead
allowing the student
old method
in his self
woe
the expression.
"indirect"
of
teaching harmony consists
to to
giving the matically" "grampart is
construction
formulating rules according
another.
their
one progression
Usually a
The
bass
given and
result is
a
the student mechanical inclined
writes the chords
correctness
inevitable is mathematically
one
in which
the student than
who the
will be
The
more infinitely
successful chain
no sense
who
is in All
musicallyinclined. but
of futility
many
upheaval is encouraging to of our pedagogicalmethods. For fear that a
the
pedagogy
'^
student
a
would
matical" gram-
errors.

The following thesis in mind. In this method. the desired goalsand the prevalent method of teaching is a menace are and then a geniusescapes.
he happens to the child to express himself with whatever vocabulary have. be composers. E. the most important. fifths. progressions ad infinUum. of a fourth or fifth in same ei cetera two or more direction.criticism. Grammar be the initialpresentaprocedure. the author hopes to make the studyof harmony not the dry and difficult which so many proclaim but an attractive subject it. has its place in any scheme of results will not be argued.
only where the direct method fails because in such places the personal in print. augmented progressions. We children to write letters until such would not think of forbidding our time as they had learned the entire contents of an imabridgedWebster Rather we encourage and had learned allthe rules of English grammar.iv
PREFACE. much by a studyof the changesgoing on Music pedagogs can profit of the way of presenting other subjects.
"direct" method Our
thesis
in the
of music composition is sure teaching
to
is. to appreciate. aid. Spontaneity. and appreciation nor interest. and interpret will bringabout such Whether or not the study of music grammar. factor is often necessary. text has been written with the above Rules and don'ts have indirect method been avoided in resorted to
so
far
as
seemed
The possible. cross-relations.000. in a startling are minority. if. Although there are approximately 450. in this text. in the methods other many have benefited by taking cognizanceof data which modem subjects and pedagogyhave psychology
The
come. G*
Cambudge..000 and Milton 10.
unresolved dissonances.000 words in the English
used but 15.
191 7
. but allcan be trained cannot All students of composition the works of composers. interest. the work has not failed.
Mass. for her sympathetic C.
extends his gratitude to his wife. of presentation permit spontaneity subject. Gardner. but the author and appreciation.allow and encourage the student to compose.but its placeshould not necessarily tion.Marion affectionately and suggestions. Shakespeare language. and selfexpression. but geniuses Now to these three qualities. imderstand. alone.
believes that The Dillon author
no
has been
such sacrificewill accrue.If the order and manner the object Even of the work has been accomplished. academic considerations are sacrificed to spontaneity.
to offer.

p.
the student's places in the exercises.
the
followingresults obtained
". but tonic.TO
The author realizes
of
THE
TEACHER.at firstglance. show
in the material.
(^^
J.the
average
will
object
to the method
presentationin the opening chapters.
f[m "SH
-^-
i
-"*
f
-"-
J.
-""-
i
^
i
i
i
n
-B"-
I
f
for solo voice with
(^.
Harrison.
in certain
first objection
will be to the limited scope
given the student in the second chapter. W.
vu
.
to the
use
it may
ear
be
argued that
some
will desire should
other chord
no
than
of other chords
there The
be
objection for by
here
the student
is
assertinghimself.
teacher
The
that. possibilities (a. harmonized
for four
voices
with
tonic chord.
8. of Boston.)
The
same
arranged
accompaniment
(tonicchord).)
Exercise
i.

reached the chapterwhich explains Mr.
with which Mr. howall students with
good comparatively
has been tried.
expect ever. non-chordal tones appear in some but these are spontaneous and their use should be encouraged before the student has even such tones. justifies of the versions. The same twenty-five lessons than a chapter each of which requires fourteen chapters.
triads in secondary
by comparison.
must objection
the three
the second
triads in principal
etc. In spite thirty-five
of lecture hours. To be sure.considerable
was are
all the work
logical. The author's class had
the difference in the number
whole
made
few mistakes. Harrison is a professional
The
and such
skilled instrumentalist and
the average
we
therefore cannot
results from satisfactory has obtained
the method
student. The S3rstems
author believes that the student of have
a
knowledge of thorough and of intervalsand their inversions. the author gave an class the final examination paper set by Harvard College experimental
To prove for the firstyear
This
be met
harmony class of
approximately seventy-two hours of hours of lectures.of scales (both theoretical and
. and the preparatory ground thoroughly tials of Music Theory covers
has or should composition already rhythm. The author's Essen^ practitional).xu
TO
THE
TEACHER. of lectures. chapter. the economy in time of this method. Harrison handled this material ingeniousness the existence of the chapterin its present form.
be advanced
results from
whom
A second
as
objection may
that the method
text books
is not
cover
as
rapid
most.
devoted
to
introductory pages
found in most
the
rudiments of music such
as
of harmony. The average in from fifteen to chord structure and progression text book covers material is covered by this text in chapters.the author's class as and was originality displayed
It will be noticed that
no are a
The class at Harvard has 1914.
This arises from the fact that most
the the firstchapter. The author. no more
in other text books.

xiii
such of
material
within
the
pages
of
a
text
book
of
composition
seems
out
place.
. student has chosen
A
will
These
be
foimd
not
melodies
for and
In
harmonization
are
chosen
to
from after found
to
Bach's the
are
graded
14.
designed
be
used
be
completed
from worked
the
out
Chapter
works of
Appendix
composers
B
will
melodies harmonized
various
to
which
are
be
or
according
those who
directions.TO
THE
TEACHER.
first
few each
are
used
in is
method
perhaps
time.
In
Appendix
Chorals.
A
bass
exercises
D
terms
for consists
Appendix
of these
of
a
list this
of
technical
with for
the
definitions.
in
case.
the
term
chosen
practically
self-explanatory. desire
to
Appendix
supplement
terms
C
the
contains melodic
graded
work.

INTRODUCTION.
In
affixed to
figuresand
not
augmented
of the
the original numeration figuringthe altered triads.
cipher is affixed
The
small Roman is affixed to
a
numeral
diminished
to denote
triad.
Triads
Major Mode.
i
vir
I
iiO
of the
m+
Form
IV
VI
Triads
Ascending
of the Melodic
i
a
"^-
fe
II
^
IV
Melodic Minor.
i
ViO
vir
I
III+
Form of the
Triads
of the
Descending
^
a I
^
ii"
III
Mode.
I
V119
. the chords
denote Arabic
are
figured. small figuresdenote
to denote
Roman
minor
to
a
triads.
denotes
plus sign is
interval. it is given for reference.
are
arrangements
and
of the chord
are
factors
such
most
as
to
show
the
of the "spellings'*
not
the necessarily
of the
effective factor distributions.
VOCABULARY OF CHORDS.
of whether regardless of the
or
triads is retained the normal
the alteration has
changed
to
formation
the
triad.
IV
^
SL
i
vn
VI
Seventh
Chords
of the Major
i
C
h
^m
"7 III7
^m
1V7
xlv
#
^
Th.
VI
VII"
of the Harmonic
Minor
i
a
-*5"-
^
75
1
V
Minor.
In
the
followingvocabulary.
The
student
is not
The
expected
chords
memorize
vocabulary.
-^-
i
1^
^
"22L
-^-
I
CI
Triads
II
III
IV
Mode.
an
plus sign (+)
The
an
largeRoman
also
numeral Arabic
augmented triad.
chord
a
factors. Large
numerals
A denote
Roman
numerals
major triads.

.
^^
Bva
alt.XVIU
INTRODUCTION.
'CeUo
^
Compass
of the
I
Pianoforte.
Compass
of
the
Voices
in
the
String
Quartet.
VioUn
(ist
and
2nd)/:zz
Viola
J52.

complete musical eight long measures or
Periods
are
A
sentence
is called short less
a
a
period and
usually consists
of
sixteen
more or
measures.
or
The
Half
to
Cadence
progression
of
tonic is at
subdominant the end of any
harmony
The
dominant
harmony.
It
is
used effectively
extend
normal
a
The
Plagal Cadence
This
(also called
is
a
Church
Cadence. arbitrarily phrases and typicalfigurefollows:
theorists call
theorists make here.
divided
figures.
is at
end
of
a
phrase
also
to
than the
the
last
phrase of length of
period.
cadence
is effective after the
final cadence
ecclesiastical music. usually VI
use
IV preferablyin occasionally
first inversion. The
*Soine
construction
of
into sections.
a
half
a
cadence
an
imperfect cadence.
The
Authentic
to
Cadence tonic
(alsocalled Final Cadence) is harmony.
FORM. period.
the
Ecclesiastical chord in
Cadence.
t Some
not
distinction
between
Deceptive Cadence
and
Avoided
Cadence.
Elementary
Form.
4. and
5 in the
imperfect
chord. phrase
Cadence
Its effective
a
phrase other than
3.MUSIC
COMPOSITION.
1. use
harmony
cadence
a
is called
complete cadence.
voice
when
soimds
factor
3
or
tonic
The
authentic
preceded by subdominant
effective
2.
CHAPTER
CADENCES AND ELEMENTARY
I. but
this
need
be considered
.
of
a
The
of the
authentic is
is at the end from
use
period.
the The
a
progression
may
from
dominant
authentic chord when is
the
cadence
be its
perfector
root
imperfect* perfectwhen
both
outer
tonic
arranged
uppermost
cadence
with
in
voices.
the last
period. and Amen
to
Cadence)
progression of
subdominant
the
tonic chord.
False Cadence
to
some
Deceptive
is
a
(also called
dominant
and
Avoided other
Its
a
Cadencef)
than effective
progression from
and the
harmony
other
chord
I.

Ex.
Phrase
2.
6.
Period
continued.
i.
Semi-phrase
Or
Section.
\r
Semi-phrase.
Semi-phrase.
ic
A
i
i\^r:r\if!l^\^r^
oommence
periodmay
upon
fractional part of the measure is deducted from the last measure
fractional part of a measure.
Semi-phrase.
ir
Phrase
4.
T ^v
i
.
^
mftkW
Figi3e.iij:^f"fnirpLU
The division of following
a
is sometimes period
Period.
i^-j. Section
"
r
Phrase 3. for the commencement required
a
The of
a
riod pe-
of the
period.
i. Phrase
"
2.
Andante
Pniod* Section Fhiaae
by
Mazas.MUSIC
COMPOSITION.
2.
chosen
by
theorists:
Phrase
i. I
Period continued.

following
diagramdemonstrates:
Diagram
i. repeating
device is called Extended Cadence.
Compares
in
period punctuation.
with
A
constructed period
as
follows is not Diagram
Period of
12
imcommon:
2. not final.
"
5
"sy:
A
E7^
it
EBSO
"i
^
Fmal Cadence.
Cadence. rhythmic grouping.)
A
periodin
the Minuet
of Sonata
I
by Beethoven
is added period
shows
two
the above
structure
but to this twelve-measure Such
a
measures
by
the final cadence. coalesce to
some
extent
in the harmonization
and but
one
well marked The
other than the final cadence.
.
The
^:f[^^^
t-^
u
1
"^
1
1/
f
i
divisions of such
and typical as simple periods
are
shown
in the
devices: marked by either or allof the following are preceding examples the smaller and melodic line. should appear.
Cadence.
Division 3. primitive.
Division
2.
"u I* ^.
Cadence.)
(not final. is fragmentary divisions are well marked the composition and therefore the smaller divisions should To avoid a fragmentary efifect.
(not final.
Division
i.
Full Cadence
in
final. Where cadence. cadence.CADENCES
AND
ELEMENTARY
FORM. Compares with semi-colon punctuation.
measures.

Period Division
2.
3. These terms may be applied small to two balancing to two balancing divisions.
TRIAD.. Like poetry. For an example expansion.e. it is necessary to double one of the triads for four voices. For an example see Beethoven's Sonata. No. 10.
Division
3. of the triad. The use of these terms in this sense must not be confused with their use in the structure of the fugue. divisions.
The
Scherzo from
as
Beethoven's follows:
Sonata
III shows
a
^teen-measure
periodconstructed
Diagram I
Division
i. Its root has
are
itsthird finality. largedivisions and even to two balancing periods. i.
but and fifthhave less finality
In
tones
whollyinactive in this relationship. The and its perfect third {mi).
t:itE3
The
"
A
?T: g
a
"
"a
i"
3S
as
i"
iK
four-measure
third division shows
perfectcoalescence
been
of two
groups.
.
diagrams of
the construction
CHAPTER
THE TONIC
n. distinguish
and recognize various cadences. The tonic triad in the chord is consonant and inactive in effect.
and
well
marked
and less marked
The
student should also be
of
to make required various simpleperiods. It is called a major triad. For an example of interpolation. interpolation of expansion.
its major major mode consists of the tonic {do).
of 16
measures. the divisions of a simplemusical period balanced one are another and the first division is called antecedent and the following against division consequent. Op. writing of the tones must be sounded by two voices. Beethoven's see Sonata. of contraction see Liszt's Hungarian Rhapsodies. fifth {so).
structures
as
Such
have
considered above
may
be varied
the devices of
Exercises. Op. The
teacher should
to
the student require
play several periodsof simpleconstruction between pointout the phrases.
by and contraction. 10. one i.'3. No.4
MUSIC
COMPOSITION.

with frequently
be doubled. the triad appears doubled root and doubled third.
because of the well established fact that the two
can
adjacentvoices which
interval are tenor and bass.
SCSL
-^
Second inversion:
12L
^
^
etc.
.
=g=
-27-
sasL
-^-
-iz.or Voice itisadvisable for the
Factor five may In this case.
T
:i3
-^. jQ-"5"-"9"WPS"
-fSr r^"^-
jO-9-
First inversion:
SL SL
etc..
ISL
Jo:. omitted in major and minor chords.* an i.
ties.
certain
be
the other factors may restrictions.
Open
:
or
etc. to avoid subtle-
of
an
close position.
: Half-open
or
etc.
j
The
factor of the chord most
doubled is the root.
la this text the term
"
" includes close position
half-open position.THE
TONIC
TRIAD.
^
-tsl
JQ.
:a-
Zl
jSf.a.
with either tripled root. by the largest separated the tonic triad in close position for four voices Various ways of writing
root
best be
with doubled
follow:
(I
Root
^
-""
"
:22:
h"^
-"fi. musical
use
affectsthe materially spacing
to beginner
and result. but. arrangement of voices in which the three upper voices do not exceed the compass Such an arrangement always results in good spacing octave.
rffi:
22:
-"-
-w
12L
-^-
12
*
Some
writers
applythe followingterms
to
the
following arrangements
:
2z: 3S
Close:
etc.
^ position:
etc.e.

unison.)Beethoven.) Mozart.
'^
Our first consideration is a
families" will assist the student in these fundamental and progressions
be
considerations
of
connections.
Symphon t
l^yTFlt^ ^
Weber.
Voices should
not
cross.)
Rhein
t
mt
use
p
of the tonic chord An predominates.
The
student's
ear
will
show readily
more
desirable arrangements.
$
i
etc.
:etc.
(^. The method pursued each chord be made.
8.
good soprano to which should be added a harmonic progressions and connections logical good bass.
^s.
Ex. 'Cello.No.)Beethoven.
Although
the
above
arrangements of the six-fourchord have doubled root.
t
^
G Minor
-^
and Clarinet.
Invention.
resorted to until
in part writinghas experience
gained.
{d. are more prominentin outer voices than in inner voices. As we proceed.
f "
(/)
Banner. 8. such as consecutive and concealed filths and octaves.
of no however.
Fifth
Symphony. impor-
^^Granrniatical" errors. the chord is more
effectivewith doubled fifth. must by this text of treating of correlating the chords and placingthem in their proper separately. consisting period.
From
a
melodic
the standpoint. Star-Spangled
i ^
be
m
^
Die Wacht
am
m r^4U
J ^
Weber.MUSIC
COMPOSITION.
Third
"
Symphony.
.
1^^^
I 1^
i^etc. entire other chords than the tonic would often
the In all compositions.
Sonata
letc. chord gives material with which of but a single A vocabulary yery little be done with this material than at first to work.
Sonata II.
Some
ot the above the
arrangements sound
thin. Motives consisting of the tones of the tonic chord may be found in the following quotations:
{a.
Although
this device been
of voices is presentin crossing should not
the works of great composers.
r I
(B. but much more can of various melodic arrangements might be supposed.
two
outer
voices
are
the most
tant.
I. Strings
(c.)
Bach.
monotonous.

'
X
Ex.
Ex.
following
ways
quotations
which the
from
standard chord has
compositions
been handled
serve
to
show
in
tonic
by
famous
Gounod's
Faust
( transcribed
from
orchestration
).
f\i
VsRDi's
^
^
II
Trovatore
( transcribed
X X
from
orchestration
).
Pl.
lO.
G.
with
a
cross
(x)
are
non-chordal
and
are
explained
in
Chapter
PoNCHiELLi's
X
Dance
of
from
the
Hours
from
Gioconda
X
(
transcribed
orchestration
\
.
'ill
r
J'l.
^
I.
The
tones
marked
lo.THE
TONIC
TRIAD
The various composers.

French Folk
Song. theyshould be hannonized with the tonic chord.
each part in playeach exercise singing
student may compose melodies founded upon the tonic chord and harmonize them.
EnglishGame. The harmonizabe for solo pianoforte.
-^
^
#
(""
^
-$
^
t5"-
I
ir"J
J
J
ts'
Xli
d
d
I
^
the student should
The
i9-
it
^
^
#
I
After the exercises have
been
criticizedand
corrected
by the teacher.
^
German Folk
1
Song.8
MUSIC
COMPOSITION.
ifa i f^f^^
f-J
p^"^
i
B^m
English Game.
.
melodies should be sung usingthe sol-fa syllables after following tion which.
ExERCTSES.
s[ny=E^^^
3.
iSfe
v^^^-
^
3E=p:
lv^
1=t
r r CI
t=|:
"*^'-it
|"rTj
4. solo voice with pianoforte accompaniment. The teacher's criticism of this original work will do much
to clear misunderstandings. Group
1.
turn.
I. may
on
The
for four voices.

in the bass.
be
tripled. I. ex. IS.
. When
must
the triad.
CHORD.
progress Next
to either. The
7th scale step (theleadingtone) has strong tendency diatonically
to the tonic. frequently third (leading tone) is almost never
factor five is omitted
in the dominant
doubled
writing.I. V. to the tonic
the tonic and mediant. it midway between Its progression final. The
use
of the six-four chord
on
all
degrees of
the
scale should
restricted to the
isL
Where
same
four progressions: following or preceded and followed by root position
first inversion
of the 2nd. I|.
active factor in the chord fifth of the dominant and it progresses triad progresses supplyingthe third in the tonic triad.
major triad and is therefore formed like the tonic triad (with major third and perfect but fifth).:
I. I.
the
The
upward
The
root
mediant
thereby
chord
of the dominant
a
the fifth of the tonic chord
root
assimies
dual character
to
in the dominant
chord.
Where
the tonic six-four chord
precedesthe
dominant
chord
at
cadence. le. the
chord. to the tonic is more chord in importanceand frequency of occurrence which
is foimded upon
may
is
The
the dominant dominant
chord
a
the fifth scale step.it
may
stationary Such
The the
root
tone stationary
is called "common
tone."
of the dominant
chord
the
is the factor most
less frequentlyand fifth. etc. I".
scale step Situated
is characterless (the supertonic)
regards to
its
tendency.with tendency to the tonic chord.:
12.
upward
The downward
The
4th scale step (thesubdominant) has strong tendency diatonically
to
the third of the tonic triad.CHAPTER
THE DOMINANT
in.
6th
scale step
(the submediant
or
superdominant)has strong
in
tendency downward
The 2nd
to the fifth of the tonic triad.This chord is consonant
active. ex. the but in an (called "cadencing progression")
a
progresses
the tonic remain
upper
voice. which is inactive
as
triad is
The
leadingtone is the
to
most
normally to the tonic.
All the tones triad
are
of the scale other
than
those
one
which
or more
constitute the tonic
of the tones of the
active in their
tendencytoward
tonic triad.
dominant triad
occurs
The
second
inversion
of the
less
frequently
be
than the I|. or I. in four voice
root
doubled.

lO

MUSIC

COMPOSITION.

yd. Where
ex. stepwise,

the bass of the six-four chord is approachedand

quitted

9*

""

g'

^^^^

4ih. Where
over progressing

the six-four chord

occurs

within

a

succession of chords
-^" -V

a

ex. stationary bass,

9:

g^-

n
In
a

succession of chords in the firstinversion, it is usually advisable chords and alternating
not be doubled.

to double the root in

the third in the

chords* but the
that the

is not principle
must

of sufficient to importance

remaining the rule nullify
triad to tonic

tone leading

of the dominant Various arrangements of the progression shown in the following are example.

{b.)

^"

gp-

m
or

"iS-^-

i
i

Jfi-

IZ.
-TOr

1

I2Z:

w

('.)

I
-V

m
"i9-

32:

i
etc.

"

te
Many
the mdodic melodic

-7^

i

m
harmonic

3:

I

imply certain progressions
end of a

For example: progressions. do

at the progression

oi it to composition
All the

(thus

i

"i9-

)

harmonizations with triads of possible chromatic alterations) or the above are and vuMV. In the midst V-IV, m-IV V-I, V-vi, vnM, ra-I, m-vi, vn**-vi, the above melodic progression be harmonized V-i but V-vi is frequently of a period, may advisable. Progressions of less frequent vnM, m-I and m:-vi are rence, occurused. In this chapter, and vn"-vi, V-IV, ra-IV and vn"-IV are rarely the dominant implies
to

tonic harmonies.

melodic progression (without modulation

student should

use

milydominant and tonic harmonies.

THE

DOMINANT

CHORD.

II

The and

fifthscale step is a factor in both the tonic and dominant
be harmonized therefore,

chords

may,

with either chord.

of Principles

and coherence usually variety govern the choice. of a tone in the melody, it is frequently advisable, Upon the repetition for the sake of variety, tone. to change the harmony upon the repeated A valuable last chord of the dominant Such
a a use

of the tonic six-four chord is upon

the third from the

periodif the melody permits.This chord is followed by

chord which progresses^ to the tonic triad in root six-fourchord may be called a "cadencial six-four."

position*

i
Ex. 13.

TSr "i9-

-Z5-

i i

i
IJ
The cadendal six-four chord may
a:

-JOr

V

I

be written without its root:

^
or "^"

*
"^"

etc

IJ
This

V
as analyzed

IJ
a

V

chord, may, of

course, be

mediant

sixth chord but its

effectis that of the cadendal

six-four. should be avoided in chord

Parallel and consecutive fifthsand octaves See progressions. The
page 23.

following exampleshould

be studied: 17th CenturyChoral.

Ex.
16.

r r

\m^
G

J

mil

J

J

J i J

rTT=rf
I

E
I

m
v^

I

Ve

I

I

loVjI

V

IJ

V

I

Open position may

be used

in the following exercises. occasionally

13

MUSIC

COMPOSITION.

Exercises, Group
I.

2.

French

Folk

Song.

h-FFr

1^1

2.

F. SCHUBBRT.
"^-

^^
i
y
ft f^* j

E
22.

at"

f:

"

L.

^
French Folk

75H-

I

Song.

4.

French

Folk

Song.

i

k
:fc"

t=t
-"^

i -1
5. Reharmonize

lo:

i
'Tzr

J

I

I
-"-v

I

the exercisesin
The

Group I,page 8, usingthe dominant
triad will

triad

as

well

as

the tonic.

firstinversion of the dominant

be necessary in most placesbecause the nature of the melodies cause the dominant triad is used in root position. consecutive octaves when The
measure Vo should be used in the penultimate

of each exercise.

The To

Dominant

Seventh

Chord.

triad may be added the seventh (ofthe root) and the resultant All seventh chords are dissonant and chord is called a seventh chord.
any

active in dissonant The most

varyingdegreesaccordingto structure and character. The factors of a chord are best approached by contrary motion.
common

seventh chord is the dominant.

of seventh
chords
with omitted thirds are
found in standard
by chords in which however.)
"V -9-"5"-
ic. The the triad with
a more
student's attention is directed to the fact that
root tripled
and
the triad
latter has
characteristicthan plaintive
the former while the former is more
The
decided and final. -J5?-
Not
cases infrequently.
1^T!^ -gy -"-^-fl. Attention from the is further directed to the fact that the tonic chord resulting The resolution is wholly satisfactory above resolution is incomplete. thus:
{a.OL "w
m
no
I
doublingof factors in a seventh chord is necessary in four voice writing. Its tendencyis greater than that of the dominant seventh. normallyresolves to the tonic triad. The dominant seventh chord seventh.
.lack the character possessed compositions. Sevenths in all chords seventh in the dominant The downward.)
doubled. The student should avoid this arrangement until experience has been gained.
fifthin the seventh chord may be omitted and the root in which case the resultant tonic triad will be complete.
-i9-(9-or -^-
isr
^
or
-lar
. Notice however. (leading
an
resolves to the tonic but in
upper
it may voice. the dissonant
chord resolves to the third of the tonic triad.)
3:
"i9tS?-
-1^
^
etc.Such chords.
(3. The root in the bass tone) resolves upward diatonically.THE
DOMINANT
CHORD.
remain
stationary.)
(d. where improvedvoice leading the third is not omitted but their use is justified thereby in part writing results. the ear supplies
The the differencein effectbetween with doubled root. normallyresolve diatonically
The
triad because of the additional active factor.
13
The
dominant
seventh chord is fonned
with
major triad and minor
and isthe onlychord thus formed.
The third fifthis free to resolve either up or down diatonically. the missing fifthin the tonic triad.

sions occa-
Study
factors may and compare (^')
(b)
be omitted
the
resolutions: following
(^")
-d2-
id.
fifth. the above manner.
fS?-
-"-"-
jSL -J5J-
-f9-fi?"25^ -"-
jSl
etc. chords
are
the ninth
(ofthe root)and
the
All ninth chords-are
dissonant
active. would sound fragmentaryand "choppy'*
material for
because of the final cadences
of the dominant
which
result from
the resolution to tonic
seventh and ninth chords.
19.
dominant
is.
The To any seventh chord
Dominant
Ninth
Chord. The writing less frequently the seventh
two
factor most and
omitted frequently the third. diatonically
same
major mode is a major ninth and factors of the dominant rem.aining
as
ninth chord resolve in the ninth chord
in the seventh chord. their tendency(downward diatonically).
in close
Ninth
more usually
The position.)
"
i
Ex.
must
The when
contains five factors. Harmonize
the
following melody:
F. however.
have
all the tones of the diatonic melodies containing harmonizing that the fourth and sixth scale steps progress according scale providing Such melodies harmonized in to. On occasionally
and the root doubled.THE
DOMINANT
CHORD.
The ninth of the dominant in the The
manner
resolves
downward.by
effective in open position far. one
of which
be omitted is the
rare
for four voices. Schubert.the most frequently
used ninth chord.
resultant chord
and than
be added may is called a ninth chord.
.
IS
S.
V9
8
V?
^ a
All the tones of the scale have of the chords which
now
appearedas
factors in
we
one now
or
more
have thus far been
and considered.

i6
MUSIC
COMPOSITION.) {^')
i
C
22:
m
C
I
Vn
the
^^
F
12
V.
.
Fillin the upper
voices in the (*)
following progressions:
(":. It is more
a
pulse. (VJ)frequently
sion The second inver-
(Vt) is less restricted upon
a
approachthan
is the second inversion
is an
a
triad and may resolve to either I or I".
or
Resolve the dominant
ninth chord in open
close position to the
tonic triad in all major keys.)
I
D
g
g
1^
I
E
mm
12 Vp
I C
I
Vn
:
IJ V"
3. Group
1.
Inversions
of
Dominant
Seventh
Chord.
are
The and
dominant
seventh chord has three inversions which
notated
in figured
the
following example:
-(9iS"-
m
jOL
^m
"". The use of the third inverhomophonicstyle
strong pulsethan upon
weak
does noty of course.)
the
the dominant ninth chord following using fragments
(*.
Exercises. The inversions of the ninth chord do not occur
conunonlyalthough
theymay
be used
effectively. of
occurs. The firstand second inversions used in may be used upon the finalcadence but they are less frequently sion than in pol)rphonic style.
same manner as
factors resolve in the inversions in the
in root
The position.
2.l-^-H
n
A factor should seldom be omitted in The inversion first
vi
an
inverted seventh chord.
12
V. Harmonize (tf.
4. The third inversion (V2) effective upon effectivedissonant and resolves to le. result in finality.

3rd
inversion.
introduced with judiciously A good melodic lineis produced by diatonic progression ik^ and chromatic steps. 23.
:^
L
i
Fixed unison.)
{b.
(".
-^9-
4th
inversion.
:sL
{c.
17 w
jO^ JQ.
24.
ist
i
'^-
-ZSL
I
etc.
But
this is a
dissonant.
22.
-"2.
^
-"?-
i
is desirable:
Hence.
-"?-
I
'O
IS
to a fixed
The
student should
avoid
a dissonant resolving
unison:
i
Ex.THE
DOMINANT
CHORD.
"^-
m
Si
-^-
J^.)
-"-
-jSL
11^.
Ex.devoid of monotony but uniformlyconstructed.)
^^
2nd inversion.
Bach. the
use
of open
for inverted position
ninth chords
i
Ex.
inversion."i2-
-ffl.
U3
he:
-"5"-
I
:s:
y
^t
5z:
-^-
i
Composershave resolved must leading accompany
a
dissonant to
a
a
voice fixed unison but skillful
such
progression. passing
The
Melodic
Line.
.
.

and to any tone usuallyimply an obligation to return remarks apply only to harmonic progressions and not to cases All the foregoing where of the same skipsare made in a voice part during the repetitions harmony. Skips to the sixth or fourth scale stepsare safer when made from below. therefore.x8
Smooth
MUSIC
COMPOSITION. however.
whole.therefore.
the
use
melody is produced by diatonic or chromatic progression but such progression used exclusively becomes monotonous and should.
orchestration). The frequency of the occurrence of skips dependsupon the character
a
of the compositionas
and effect. wide leapsin any direction within the interval of the leap.
are.
scale
should seldom figure
on
turn
on or
the seventh
scale step and
a
downward
scale figure
should seldom turn
the sixth
fourth scale steps. the tendencies of active scale steps are increased when approached along the scale line in the same direction as their resolutions.upon
the
of the melodic tones.
25. In general. A skip from above increases the tendency of the leadingtone to resolve upward to the tonic. upward for striving
a
thematic voice part when
therefore. upon the particular Skipsin a melodic line produce a rugged and vigorous effect and
a
adapted to
When
strong bass
part in
a
rhythmicallywell-marked
is in rugged style a composition as the tendencies of the scale steps must be good melodic line.
of Quotations follow showing applications the
tonic and
dominant
chords. an and. of the active scale steps normalizes their tendencies. the tendency of the seventh scale figure overcome may the scale step and an upward scale figure of the sixth or fourth overcome tendency may scale step.upon rapidity
the desired
voice part in hand.
Skips to the leadingtone should seldom be made from below but from above. Skips from below will be found in compositionsbut these require careful manipulation. f f
.or to a opposed to a lyrical style.
X
Ex. in which case an increased tendency results. On the other hand.
From
Gounod's
Faust
from (trans. be alleviated by of skips. composition. A downward borne in mind. Sustentation.
D
I
I
^ fTTif J"IT-
I
t^
^ I
f fi.

add two more 5. Resolve the dominant seventh chord in its third inversion in all major keys.
Resolve the dominant
seventh chord in its second inversion
to the tonic triad in all major
keys.THE
DOMINANT
CHORD. (transc. Group
f
.
2.
28.
Resolve the dominant
seventh chord in its firstinversion
(VJ) to
(Vf)
the tonic triad in all major keys.
ExERasES.
Ex.
21
From
BsLLiNi's
Norma
from orchestration). the tonic triad (lo)
4.
5. To the following and bass)and resolve them to five-voicetonic chords:
voices
(tenor
.
three-voice chords.
Fillin the upper
voices in the
(*.
(Va) to
3.)
^
o
(")
^^^fi"
Eb
lt3E
Bb
-^Sh
im
C
-^-
"JBL
-^-
ISL
-^-
H
Vo
I
Vo
I
Vg
lo
Vg
L
*
Vji le
V.
"
I
ist inv.
3rd inv.)
following progressions:
{c.
4th inv.

like the tonic and the dominant triads. The subdominant a scale step) its major third and major triad and consists of root (fourth chord but not final.
use
the dominant
seventh
or
ninth chord
in the firstinversion in the
measure penultimate
of each exercise.
and flexibility
the above
progressions are. of course.
The fourth and sixth scale stepsdo not.
3rd inv. Rehannonize
root pos. 6. fifth. Neither is it obligatory
normal
alwaysfollow their or theymay upward diatonically
sometimes
even
advisable to
harmonize their normal
these tones
with dominant
harmony
when
they follow
tendency. by
means.
CHAPTER
THE SUBDOMINANT
IV.
(^0
(^)
(^0
^^ee\\ ^^-^^^=Mi
C
Vq
C
Vq
C
root
Vg
pos. namely the subdominant chord and the chord. Its
root and
the active fourth and sixth scale steps
respectively. Common
subdominant
the most
in other connections has
giventhe
no
triad
common.
. therefore.
the exercises in
Group I.page 8. They may progress nor progress by skip. progression
triad would be to the tonic
thus: triad. chords with which both the fourth and sixth There are two important scale steps may be harmonized. It is a consonant its perfect althoughit has
not
which the definite activity third
are
characterizes the dominant
triad.
tendency.
We
deduct that the logical of the subdominant would.
^
"s:
-^-
32:
^
or
^^
To
root
: position
-^9-
i5"-
22:
m
IV
IV
^d
IV
in the above The last progression
of
use
hymns and called the
Amen
example is often appended at the close Cadence or the Plagal Close. supertonic triad is.
CHORD.12
MUSIC
COMPOSITION. the firstof which is to be considered in this chapter.

even
It is from this concurrence
of two
keys
that the
discordance arises.
when
in succession. thus: scale of C an upper part
i
Ex.
"7S-i9
. conjunct. objectionable
student will notice that in the
for this harshness[j|was due to the fact that "the upper thought the reason while in if to the lower another. Concealed fifths. the movement of the parts. "i9-
S
15L
.
Various
of IV-V progressions
shown
in
following example. because they sound similar to consecutive fifths.
etc.fiL
i
IV
22:
"rr
-i9-(9-
I
IV
V-
IV
Vo
IV
V. this is always the case chords are situated a second or a seventh apart and in such progressions "fifths" and "octaves" frequently arise.)
-^-
(O
-f9-
w
i^
.
"^
octaves
s: 32:
-^-"-
SL
I
one
etc.THE
SUBDOMINANT
CHORD.
(*. several fifths as.
.
#
Ex.
triad to the dominant progression where the roots of there is no common tone.
St.
33 triad is its progression
are
A
the
more
idiomatic
of the progression
subdominant
to the dominant
chord.^Z.
^
f9-
1Z." Consecutive fifthshavq is disjunct. and. objectionable
arise when motion to
a
any
voices progress thus: fifth.22. 82.
SO. the one moves key part progresses be added which givesa perfect fifthat each measure.. the other in G.insteadof being
the discordance none the less exists..
the prohibition to introduce consequently.OL
I
itfollows that
one
^ ""
^
^"75
s:
-^
^-
part willbe in C.
-""^-
.
Consecutive
a
and
unisons
a
are
objectionable only because their use
converts
*
four voice
into progression
three voice progression with
of the melodies doubled. perfect
two
from any
interval other than
a
fifthin
parallel
Ex.
-Gf-
1^
. in For example. been used effectively by great composers but should be avoided by the student. objectionable
The
Consecutive fifths are Cherubim
because they often sound harsh and primitive.

may be When the tonic is repeated the harmony may change.
Concealed fifths and dghths
as a
between chords having a common tone are not.
arisewhen
Concealed octaves.
harmonizations of diatonic mekxiies with the vocabulary guidance to logical of chords thus far given. although.
Like the tonic and dominant the subdominant triads.
S3. thus:
Ex. however. frequently the
restrictionsas the V2*
are
onlymajor triads in the major mode. especially
voices. such as the leading Factors havingstrong tendency tone. the following text will serve.it is usually advisable (where pracobjecticmable. with The tonic i^do) harmonized other the tonic or the subdominant triad. As
a
The three triads which have been considered
do should be harmonized
be harmonized with usually the tonic triad when itis precededby dominant harmony. rule. It should
. They are are Triads also the Primary Triads. sextet and quintet
composition. although
with the tonic triad. such a progresaicm is found in the works of standard writers.consecutive and concealed Obviously. sevenths and ninths in chords. is true. froin voices two progress any interval other than an octave in paralld any
an
motion to
octave.in some cases. This principle arisesfrom the fact that dominant harmony followed by subdominant harmony is seldom effective.
octaves
and
unisons
through the reinforcement of melodies and chord factors by one or more The same of pianc^orte.should
not
be doubled
in four-
part writing.
^
etc
-"r
-^-jy
-i^
-jgr
-^-
in orchestral writing. second inversion is subject to the
same
more
used. objectionaUe because they soond similar to consecutive octaves.and.be sacrificed to this principle.
one
triad has two The
the firstinversion beingthe inversions. As first or last tone of a melody. Pages in often called the Principal standard works can be found containing few. arising for the present. position.
compass
should not. in a lesserdegree. Harmonic
vdce leading and spacing. no other
chords than those thus far considered. tical)
to
in outer avoid them. allthe tones of the major scale and They comprise therefore sufficientto harmonize any diatonic melody. Consecutive by leading fifths avoided by doubling and octaves may also be advantageously some factor other than the root in one or both of the chords of the progression. abound instruments.24
MUSIC
COMPOSITION.it will be
remembered. the upper voices in contrarymotion to the bass.
Consecutive
root
fifths and
octaves
are
avoided
between
two
chords in
the roots of which are situated a second or a seventh apart.

tone (tt) 1^ The leading Tones which skq" in a melody are usuallyharmonized with the same harmony
subdominant
this cannot be as successfully done now although of chords. Otherwise it should be harmonized with subdominant harmony.
6
IVe
seventh triad.THE
SUBDOMINANT
CHORD. exception
Do may
be
harmonized
with tonic harmony in the above The above mdodic
V-IV.
of melody because of the ineffectiveness be harmcmized as fragmentwould therefore
^
^
Ex. is harmonized with dominant harmony. progression foflows: V-I-IV-IV. The dcmiinant (so)may be harmcmized with either tonic or dominant harmony.
^
a
"B"CMiM
of tlM
vm
praftnbloto
thatc diords
of tli*rvsolotioii to tonic of thi domiuint fiaaUty diord tpvinglyotoept as tliaponnltiaata
and
ninth chorda^ It !"
period. It (see
be harmonized
harmony in allits progressions.
or
is harmonized The supertonic (re) The mediant The
with dominant with tonic
ninth chord.
"S
Bach. it descends diatonically may
may
be harmonized
with with
dominant
footnote below). vocabulary oomplcte
as
later when
the student has the
C
IV-
In
cases
similar to the
following
an
is made.
IV
serath of
a
r
i
etc.
. When so is repeatedthe harmony may change.*
(mi) is harmonized
subdominant seventh
or
(fa)wherever
ninth chord
harmony.
or
^
J. be harmonized with wherever it descends diatonically The superdominant (la) may dominant ninth chord (seefootnote below).

where all the tones of the skipsdo not belongto occur Passages with skips frequently in chord which be grouped logically.do should be harmonized be harwith dominant.26
MUSIC
COMPOSITION.
etc.
fragment:
If
a
m
The
can
be harmonized
as
follows: I-rV-IV-rV
or
I-I-IV-IV. be harmonized preceding phrase on the dominant In a progression of successive sixth chords. they must such For the and good chord progression melodic example. progression
The
should following quotations
be
studied.
Ex. 87. do may monized
.
following melodic
fragment:
-j)^r^Jcommences on
is governed not -only
by phrase consideration but by the consideration of chord progression. the former harmonization phrase commences upon tion new phrase commences upon the third quarter.either
harmonization
is
available.
new
if a is available. the latter harmonizathe midst
if the fragment is in preferable.
of
a
phrase.with subdominant. is
the second quarter note.it is usuallyadvisable to double the third be doubled Fifths may in alternating chords and the root in the remaining chords. In the midst monized with tonic harmony if the preceding so is harof a phrase.Principles of phrasing the same case. but if so is harmonized with tonic harmony. do may
new
do
and
so
finishes
a
if voice leadingprofits thereby. following govern passages.
If
a
with subdominant. in such
a
phrase chord. carefully
Belli
Ni*s Norma.
.

and bass. exphraseending is usually preferable of course.avoided in all the parts.
alto."
use
of
inversions.
Bach. of writing. The followingarrangement with doubled third is good:
i
9^
nant
^
"
'
-^-
jSk.are good. The bass should be good chord progression that is. S.
for "fifths" and
"octaves. Augmented
skips(^\
J
-
-f9-
\
should
be.
phraseof a period. and ninths are not to be the leading tone.
The inner voices should be made with
interestingis melodically
ble compati-
and coherence. wholly soprano. Because of the tonic chord. not too "skippy. page
as
$). sevenths.
is available position)
In
as
for voices." This necessitates the frequent "flowing. frequently
then the third. diminished
skips
^m
tone need
however. -"2-
phrasesin a melody before it.
for the present. tenor. A subdominant endingis not often harmonizing phrase able.
it is advisable to write almost At this time. upon
upon a ninth chord. tonic and dominant phrase endings are availdesirable."
the
Remember
that the root is the factor most
next doubled. this style dispersed harmony (open
as
well
close
as
position(see footnote.
resolve within the
not
The
second
tone
of
a
diminished The
skipshould usually
common
stepwise: skip
^^Watch
off the
be
retained unless desired.THE
SUBDOMINANT
CHORD.
J7
J. fifth.a domjof the finality
It is advisable to mark
where the melody permits cept. doubled. The dominant triad seventh or to the dominant phrase endingis usually preferable
the last
.

tonic and
ninth
chords
are
less useful than
seventh
The those
first seven
exercises with
in
to work desiring
Appendix given bass.
that
each
melody
The
"singable.
be harmonized. Write page
the
complete Cadence
sometimes the ninth."
seventh
a
melodies
is
should
then
chord.)
(^.
Its cadencing resolution is not
very
(^. however.to
These
chord
compass.
the
result of passing subdominant
part of the harmonic
even
Unaltered chords.5"-
i
VIlO
IV7
This chord is not
VllO
IV7
YIlO
IV7
VllO
IV7
available at present. the seventh. the dominant triad.
chord
harsh dissonant.)
(^0
i
Doubted Tone.sometimes
several diatonic
to
and
The
to
melodies.
It is
a
subdominant and therefore
an
uncommon
major seventh satisfactory.
-o "
s
or as
a
Major
tones
seventh than
as a
chords
occur
more
frequently as passing chords
architecture.
tion atten-
phrase grouping and
is
balance.
leas unsatisfactory.
-49-
ZSL
ja.
voice
the
judiciousmixing of stepwise
Be
sure
with progression
skips. chord is constructed chord. should
compose
i). leading Ton
I
''i
I
"2^
\"
A''
^
'
H
etc.
29
6.
h5"
1
"9
1
. pa3dng
etc. Use
sometimes
student
(IV V I) in all major keys (seeCadences.
C
may
now
be
worked
out
by
.
^
gp
I
^ -tS^
ej
-fSr
I
etc.THE
SUBDOMINANT
CHORD. like the subdominant
Its and
The
are
tonic seventh
the above
remarks is
what some-
to the tonic seventh applicable
cadencing resdution.

It is a consonant* be
the root or triads. would suppose we triad. The three chords secondary
may
be
being called by the same namely. The most
use
is with the third in the soprano." the three principal names as chords.)
^
^
^^
m
i
"V
-9-
is-
II
I
II
I
u
I"
The and
a a
student will notice that in the first progression. a paraUel octave
fifthresult. thus: of the
(". preceding chord supertonic
doubled.
.JO
CHAPTER
THE SUPERTONIC
V.dominant. preceding factor three triads. tonic. and subdominant. The supertonic triad di"Fersin structure from
considered.
It consists of root
a
the groupedinto three main "families. Upon examiningthe factors of the supertonic that its natural tendencywould be to the tonic triad. The faulty from Bach show good examples of progression n-I.
In this chapter we
enter upon
the
studyof the
chord first
to belonging
the so-called "secondary" chords.
CHORD.)
z:
(c. but unlike doubled.) (^. The chord supertonic
fore the three triads hereto-
its minor third and its perfect (re) chord but active. freely
thirds in minor triads are better than in major triads. following quotations
*Tlie minor
triad ia
as accepted
a consonance
by the
modern
ear. to the subdominant belongs family. Doubled effective the fifthmay
may be
fifthand is called Like the the
minor
triad. and parallel
in the second
doubled
third in the tonic triad
fifth and a parallel progression result. The third progression is not
although it results in a doubled third in the tonic triad.

fifthbelow)the root of the first The
of the progression is the
supermost
tonic chord resultsin the
n-V.makes the cadencing progression. in the factors in the upper voices to remain stationary the bass.
II
of the supertonic chord to dominant harmony progression of the subis to the same harmony as the idiomatic progression between the supertonic and a relationship dominant.thus establishing them in the same subdominant chords and placing family group. fi
I
"g -^II flg
rt/:
"g-
I
I
V
1
II
V
1
II
The
following example demonstrates
triad may become
the factors of the tonic superdominant in the ninth factors chord by aUowing how
while the root.
3. The exercises in group 6 should be be harmonized scale step (re) now may The
"S"" Xn It Chapter
idiomatic
again harmonized.THE
SUPERTONIC
CHORD. therebysimplydela3ring chord. A natural
to another chord the root of which
a
chords is the so-called in which
a
is situated This
chord gresses profourth above (or
a
chord.* supertonic
scale tendencies of the factors in the
-%
"
g-F
I
""
2Z
^
-^-
I ^
=-"^g
g^
^-
etc. the t riad inversions of are supertonic governed by the same ^The further as the inversions of other chords and therefore need no principles explanation. progression of the supertonic chord cadencingprogression Common
use
one
used.
with V
or
The
second be har-
u.
for a largenumber of progression is one This progression cadencingprogression. frequently its factors and
has allbut upset the scale tendencies of giventhe chord as a whole a tendency to dominant
turn
harmony which in
resolves to
the tonic.
Fa may
.

Notice that the seventh in the
to the
diord.
46.
:^
I
or
#
-a-
i
22:
-ZL
3:
I
etc.32
MUSIC
COMPOSITION. by the skq" in the
resolves
upward diatonically
voice may remain
in an ui^r
but stationary
(a. IV
be harmonized
or
n
to according
its progression.
to according
La
with
Vq. itsroot of a third.
This very useful and minor
commonly used chord is formed by addingthe
triad: supertonic
seventh of the root to the
i
It is
a
dissonant and active chord.
*
ninth supertonic
Its structure
chord
than the dominant less frequently
and resolution follow.)
m
Ex.
y. cadencing
(^. position.r+^
%
I
9i
g
I
etc
I
"7
"^9-
I
occurs
"^9-
"7
II7
"7
The ninth.)
w
-""
g
JSL.
I
"7
2:
I
seventh
"7
The supertonic seventh chord may
or
also resolve to the dominant
ninth chord.
with
may
V79 Vo.
monized
etc.)
bass^it makes
(^. IV
or
n
its progression.
.
Its normal
resolution is to the dominant
chord
and resolution) (cadendng
resolution V7-I. resolves downward
or
upon paper. looks no differentfrom the Its seventh resolves downward its fifth diatonically.*
downward
its third diatonically.)
the
progression.)
ic. position. its normal
downward
chord is the inactivetonic bnt as a dissonant seventh in the tapertonic is destroyed and it becomes an active tone with a tendency diatotdcallj immobility active leading tone.
^1
m
jOL -^-
i
117
JOL.
The
Supertonic
Seventh
Chord.
etc.
(^.
Ig
g.

superdominant in the midst of phrases.
the tonic in the above
phraseendingwith
The
effective position of the
triad superdominant
is with its and
third in the soprano.36
CHAPTER
THE SUPERDOMINANT
VI. the chord is weak with itsfifthin the soprano should seldom be used with its root in the soprano. following
id.
like the supertonic upon the sixth scale step is." We is not have
seen
that the
alwaysdesirable as
V-I has finality and consequently progression a phrase ending excq"tfor the last phrase.
.
as
however.)
qP
^
^ ^
I
g"
rtf
^
I--"L " fi"s
is
1 SC^
:
^-
II
etc. It belongs and is very useful to the tonic family* V-vi phrase.
jGL
V
VI
V
VI
V7
VI
Vq
VI
of the dominant The resolution is the most chord.
*
A few theorists
placethis chord
in the subdomioant in placed that
bat funiljr. it is herein '"stitute
family. and progressions be preceded gression VI may by I. we vocabulary. Progression forms
'^
as
the last chord of
a
a
Deceptive
Cadence.
CHORD.
.
*
seventh chord to the
triad superdominant dominant seventh
resolution of the non-cadencing important
triad is not restricted It occurs to the above use. triad.A. If. ProThe
I-vi is better than vi-I. vi-I should be avoided. n or V and occasionally by m or IV. Various of progressions V-vi
are
shown
(c.
The
triad secondary
a minor triad.)
in the
example. a phrase ended heretofore
necessary Now
may
to
follows: because
^^
of the
as a
it
was
harmonize and
it with
V-I
of infrequency
V-IV progression harmonize
most
the undesirableness of IV
with the addition of the
triad to superdominant
our
phraseending.)
(t.
vi. frequently vi-V and vi-IV are available.
as
it is more
commooljrused
as "
for the tonic chord.A normal progression of vi is to n.

In where we hear the superdominant seventh chord.
66. The cadencingprogression of the superdominant seventh chord is to the supertonic chord. It is constructed like the seventh chord (minortriad and minor seventh).
a
1%
of vi2 is quoted from non-cadendng progression
Bach
Choral:
Ex. many Its as it were.
u
YI7
u
YI7
II
YI7
117
YI7
117
The
of the cadencing progression
inversions foUow:
VlJ
A
II
Yl|
II
VI.thus:
be
TL. cases we hover.
37
triad need no explanation. supertonic Progression V-vi isbest with both chords in root position.
The invendoiis of the
tendency to suggest modulation.THE
SUPERDOMINANT
CHORD. Because of supertonic the frequent its use oLthis seventh chord formation as a supert"mic chord. between two to keys.
. The superdominant less frequently than the ^venth chord occurs dominant and supertonic seventh chords. cadencing progression a majortriad
use
on
other scale
has degrees
a
effectuates a modulation
may
but its cadencing to progression
a
minor triad
in such a manner as to retain the original manipulated tonality.

and rarely the seventh scale stq" where it descends descends diatonically.
IlJ
V-
ninth superdominant foUow: ingprogressions The
use
of the
chord* is not
common.
II
Vli
"7
VI. (d.
. and sixth scale steps additional chord for harmonizing third.
VI.quoted from the
same
choral:
VI. The foUowingquotations The
addition of the
*Samt
theoristscoosldNr tht tonic seventh
chord
t
ninth chord without sopefdominant
root. (a.38
A
MUSIC
COMPOSITION.
II"
The Their
ninth superdominant foUow: cadencing progressions inversions of the
chord
are
used.
Cadenc-
Ex. should be carefully studied.occasionally (seldomthe latter. (^.) ist inversion. rarely
and inversion.)
chord to our vocabuJary superdominant an gives the first.)4th inversion. (c) 3rdinversion.
of VI9 cadencing progression
is. the fifthscale stq" where it however). diatonically.

Ex.
ei. Dxcius
Ex. IJ
t
(i6th Century).
N.
.
f
i
:"
^ ^ Ail
t:
(g
r
Notice two fourth
or
i
VI
?
N.
^
^ ?2:
-C.S.THE
SUPERDOMINANT
CHORD.
/ r r Ia \1 3i i n M ^m ^^
i
1
i
'
i
^
I
IV
V^"
VI
Vo(l7)n"f
Yj
V. Most
direction in any voice part should be avoided for the theoristsforbid such skips but they are foimd in many works.
/c\
^
::^
-fi.
Bach.
60.
i
^
IVa lo
i
V^
IV(7. e^"esame
dallyin the woriu of modem
composers.
f
MX"
VI
i
r
of a skips
of a fourth skips
a
in the bass in
measure
5 and 6.
Two
or
more
of
fifthin the
present.B.
/T\
i
-C.
39 ).

preceding secondary
triad is consonant but
third and.like the two islessconmion
triads. It belongs to the dominant family and progresses normally to the tonic.4"
MUSIC
COMPOSITION. the key of the relative minor m-vi progressioii m elodic in its descending fonn. gested
The
.
CHORD. Progressions to the
tonic follow: family
25:
S
i
etc. This minor
use
t^an that of the other triads.
-lo-
m
HI
32:
VI
i
is 8ii|^-
III
has tonal ambiguity.
CHAPTER
THE MEDIANT
VII.
The mediant with minor active. It does the dominant chord at the finalcadence although not frequently displace it was used in this manner in the Romantic Period.
Its
triad is formed. perfect fifth.

y
(*.
(".
'i9-
:SL
ZSZ3
i
^^^"
!*"~^"W^BIP
. 2: s: zz: 22:
i
1117
1117
1117
The inversionsof the mediant seventh chord with follow:
resolution cadencing
*
m
s:
^
-fi"
"J
etc.)
(c.)
i
etc. Its cadendng resolution commonly as the supertonic chord.
43
The inversions of the triad follow:
Bach.THE
MEDIANT
CHORD. IS to the superdominant
ia.
1^
I i
"%
iii2
seventh chord
I
Vfl
ni"
VI
V"
The
mediant
is formed
with minor
seventh like the
and superdominant seventh chords.)
22:
-^-
seventh chord is to the
(*.
i
"x. It is somewhat more supertonic useful than the superdominant seventh chord but does not occur as seventh chord.)
(O
etc
1117
n
1117
VI
1117
Yi
resolution of the mediant A useful non-cadencing tonic.

a
from
of root
the
preceding six triads.CHAPTER
THE SUBTONIC
Vm.
to preferable
position. and its diminished (ti)." Unlike doubled The
as
the three upper
same a
factors of the dominant facts have without
chord
progress
in the
manner.
These seventh
The
factors
of the triad seventh led many root.
The
triad di"fers in formation and
and consists active.
in four-voice
composition.
CHORD. It is dissonant its minor third.
or
minor.it
is best with
fifth is frequentlydoubled
as
a
but the doubled
fifth should The
root. undesirable
as a
musician
often find
The
doubled
normal
resolution of the subtonic
triad is
non-cadendng
to
the
tonic triad.
32:
-^"?y Tpr
I
i
TI18
. but that
the subtonic triad is named
by its fifths
The
subtonic
are
chord the and
same
belongs to
tones
as
the
dominant
family.
triad is
never
written with doubled third.
theorists to call this triad
''dominant
chord
all the other
root
the subtonic triads.
The
subtonic
chord
is
a
very
common
chord
and
a
useful
one. by
many.
VIlO
I
VIlO
I
The
root
firstinversion of the triad is
considered.
and is called fifth.
Notice
diminished
are
triad.
be avoided will
much
because possible doubled
fifth
as
it has definite tendency.
named
that the other triads
major by their thirds.

ninth chord.^."
by
theorists a
Its factors
tones corresponding
in the dominant
normally resolve.is good. the effect.
I
IV
(vii"2)I
The
passing tones. however.
Its factors
the
same
tones
as
the upper
some
four
factors of the dominant ''dominant like the chord.
77. however.
49
The second inversion of the triad is unusual.
The subtonic seventh chord is the mildest dissonant seventh chord
of the
major mode. ninth chord
ninth chord and is called without root.THE
SUBTONIC
CHORD. A progression fifth is usually from a diminished fifth to a perfect undesirable.
#
i
I
-r^-
2z:
VlA
.
^
Subtonic
are
The
Seventh
Chord.of passing its use.to the tonic
-19-
2:
l^S. in terms of families. are
of sufficientimportanceto upset the
effectwhich would be presentwith the passing tones removed. The Bach
Some
a
theorists forbid
contains
vn^
as
a
result.
Ex. -9-
fifth. and plagal is I-IV-V-I. however.
from quotation foUowing tones.
Ex.
i
-9-(9-
22:
A
from progression
a
fifthto perfect
a
diminished
. 78.

while true.
81. is not
a
the lattercriticbm.
former criticismcould
apply
well to the dominant
isan academicism. itisundesirable.
chord and
and that where it b used.so
MUSIC
COMPOSITION.
.
. It is criticizedas being ''overworked" and that much can be accomplished
with it with
as a
minimum
of
The technique. The resolution of vn\ cadencing is not
common.^.
82.
-^-
-.
VlA
III
viA
III
Examples of the inversions of vn^7 with their resolutions
foUow.
to
tonic
Ex.^Z
m
1. that too much subtonic harmony It is true.
H
Their
resolutionsfcUow: cadencing
i
Ex.
Notice that this nonnal resolution is non-cadendng. follow: Quotations
.because proofof goodcraftsmanship.
vn""2
vn^t
I^
viio. of a lack of technique and not for effect.
3:
:Z2:
"i9-
zr 13L
"^" -^-
i i
criticism from
jCL. others.^
The
subtonic chord in both modes
has suffered much
theorists
although it has been and is being used by masters.however.

are perfect fifths and octaves in outer voices when are objectionable progress to the fifth or octave by skips. V.
to IV.
A table of chord
cannot
is valuable onlyas progressions
a
a
mechanical
guideand
be
given as
a a
law. IV. vn^.
V-vi is best with both chords in root position. Awkward melodic
an
Consecutive
Concealed both
parts
skips.
vi. nearly alwaysthe result of non-chordal
ninths
ninth chord Remember
that IV7 and should be used
I7
are
unconunon
and that
some
of the other chords
sparingly. vi. Such
but tablet
in a there is stability
onlyin
foUows:
the event
is governed by natural laws and change generalization of a change in scale system. n.
The
different stages in the evolution of music of chord generalization
influence such families. possible
to n. the principal member may progress to a
member but the
reverse
The subdominatU
subordinate
of this should be avoided. m.
of which
these tones formations
are are
vii^o*" Io" IVq." perq"ective
. The dominant familytrends to the tonicfamily.is to root position or second inversion. The generalization is as
familytrends to the dominant family. m. occasionally
progress to progress progress
to to
may may
TV may V may
VI
progress to progress to progress progress
to to
may
vn^ may
V.
so
and
are
H. Uke the eye. vn^ occasionally to vn^ occasionally
seldcMBu to n. V. I. occasionally
seldom to I. n.
55
The
table is not
for example:V? complete.vn*.
m. IV. preferable fifths and octaves undesirable.
"See ChapterXIII.vi.
re. of use or relative The table is not planned to show the relative frequency
importanceof the chords. I. vi. The first Progression inversion of vii?. then diminished triads.major triads are given firstfollowed by minor ninth then seventh chords and lastly.n.RECAPITULATION
AND
SUGGESTIONS. should be avoided.
The
ninth respective
chords Such
tones. The following table
I may
n m
shows
chord progressions.
vn^ seldom to IV.
to vn*.such
as
augmented intervals and
skips
greater than
octave. vi. The tonicfamilyis free. chords. V. t "and the ear. and viq. triads.
to vi. m. occasionally
seldom to n. I. occasionally seldom to IV. IV. Within a family.
to I. V.
is listedonlyonce
in the table
but it may be used to harmonize any tone which is a factor in the chord. m.
toon
*eccowod"tee
'
itself to
new
and unrelated hannonies. The tones which are not listedas ninths in ninth chords are do. I. m. V.

In the dominant seventh and ninth chords.
.
?
V7
ftg
a
I (^
^
C
^
V. 88.the resolution tendency of the sevenths and ninths is analogous to the scale tendencies of these downward diatonic
tones. thus: changed.
MUSIC
COMPOSITION. major triads. which
remain stationary factor seven or nine may progressions.
Factors
forminga dissonant
intervals resolve
are
best
approachedin contrarymotion. the best chord factors to double. perfect
root
may
be
omitted in the tonic six-fourchord. The however. These principles of good voice leading. usuaUy better than doubled thirds.
Modulatory
Modulatory
Modulatory f
etc.
In
some
chord is the
or. especially The
six-four. same. subtonic triad presents to the general an exception principles the third in the subtonic triad is the best factor
a
thirds in minor chords than in
to
double.S6
Avoid
compass.
for writing
Extremes
of any voice any lengthof time in the extremes of a voice compass are more intonated where easily
sure
Be approached stepwise.
fifth. Roots
fifths are
that each part is singable.) Stationary7th
i
"^-
IZL
\
"
^s
*
Ex.
b
lit
V7
V11O7 C V7 fS Vf
iiOft V
"See tSee
ChapterXIV.
The fifthin
the
six-four chord is usuaUy the best factor to Avoid The best factor for omission is the
in double. be enharmonically
{a. in general.
Diminished The
by
contraction:
i
"""-
and nine is tendency of chord factors seven as the case or inactivity stronger than the normal scale activity may be. Doubled are. cadencing
doubling tendencyfactors.
Chapter* XII
and XIV. are subservient to principles of doubling.the mediant seventh and ninth chords.
A tonic six-fourchord is sometimes
written at the cadence with omitted third. and the subtonic seventh chord. It is better to double
of doubling.

) Modulatory*
a:
etc.
00. Such
a
device should
Ex. thoroughly experienced Most voice and all end with the tonic in the highest compositions end with the tonic in the lowest voice (rootposition).) Stationary9th
\4 fil-\-^l^^ f
i
Modulatory *
^^^
I
C
J
V.! compositions The penultimate either ti or re.
Robert
Franz's GtUe NacM
is
quoted as
an
example of
a
composition
endingwith the fifthin the
"See
melody:
ChapterXIV. usually
(a.
VI
V7
B"V7
factor seven Occasionally. sometimes tone of a melody is usually /a but seldom la.) Modulatory *
Ex.
'iA=M=^ ^
""
m=^
C V"
^
C
V7
b
ij
I
E
V. chromatically:
or
nine may
progress
upward stepwise. Schumann's Warum is quoted as an sOy occasionally voice: with the third in the highest example of a composition ending
Rarely.
tSMChapUrXIII.
S7
(6.
in composing.
(6.factor seven onlybe used by one
or
nine is
quitted by leap.
.RECAPITULATION
AND
SUGGESTIONS.

v. vn".
MODE.
CHAPTER
THE MINOR
X. u**.01+.n.
The
greaterthan
octave. VI. V. vi".
IV. fixed unison. iv.
The modes
differencein the triad formations between
may be Mode
seen
the
of by a comparison
the numerical
major and symbols:
minor
Major
I.
i. n^ III+. IV. Voice A dissonant should not be resolved to
a
leading governs
are
the choice of omissions and
duplications. i. cially espe-
in ninth chords. V.
dose. (primitive) i.
a
of a harmony or repetition
bass note from
weak
to a
strong
pulse. VH.
m.
. vi". VI. Dissonant chords Avoid the
most
effectiveupon
a
strong pulse. The preferable Open position from its root by an be separated ninth in ninth chords should usually interval of at least a ninth. iv.
Harmonic
Minor
Melodic Minor Ascending Melodic Minor Descending
V.is in addition to the real ending. when used. equidistant Avoid groupingthe two upper voices and the two lower possible. vi.
The voices with alto
or a
wide interval between
tenor
the two
the alto and
an
should seldom
soprano and be separated by an interval
groups. HI. n".58
MUSIC
COMPOSITION. plagai When as is keep the voices as nearly usingopen position. vn*^.
is usually for strong dissonant chords.
Exercises 8-16 in
AppendixC
are
now
available.

THE

MINOR

MODE.

59

the hannonic fonn of the minor mode should be the composing, and descending) used are workingbasis. The melodic forms (ascending for melodic purposes althoughadvantagesin part writing principally from the use of chords of melodic minor formation, accrue frequently vi^ and VII should be avoided where monotonality is desired. A comparison of the triads of the major mode with those of the harmonic In minor shows
two

triads which

are

V and vn^. alike,

All other

triadsdiffer. The harmonic
two

minor mode

has two minor triads (i and

iv),

major triads (V and VI), two diminished triads (n" and vn^) and one augmented triad (III+). An augmented triad is formed with major third and augmentedfifth.
Such
a

chord is dissonant and active.

Augmented intervals resolve by expansion.
All that has been said of the chord in the minor mode.
More

in major is applicable progressions mode than

augmented intervals are

to be found in the minor

are

found in the

major.

In the harmonic

minor mode,
an

an

augmentedsecond

exists between

scale steps six and

seven,

augmented fifth between

three and seven, and an augmented fourth between four and seven. Melodic progressions of all augmented intervals should be avoided by those not The in part writing. experienced avoided but some augmented fourth and fifthare easily difficulty is often experienced with the augmented second. The difficulty exists in progressions V-VI and n^-V. In

V~VI, progression

double the third in VI instead of the root,thus:

instead of n^-V, lead the upper voices downward progression voice. The bass should be led the common tone in the same retaining upward to avoid concealed fifthsand octaves. In

"
Ex.

jg
"

a

.a.

i

6o If a tone in the
to
a

MUSIC

COMPOSITION.

melody is harmonized
with V

with n^ and progresses

upward

tone

which

is harmonized

m

^P

the

foDowing

solutions are

possible:

i
Ex. 04.

^=i
r

i.

"r '
-t

(

^

^
f

("" i
T

" .", A
''""-

I
etc.

(g
The student needs harmonize

J

p^
no

m

f
to enable him to

I
correctly
Remember

further comments

melodies in the melodic minor

mode.

which should be avoided and avoid them factor The

by

the gressions proand logical leading differin with the in both shows

doubling.
seventh and ninth chords in the harmonic
the

minor mode

formation from
of exception

chords in the major mode corresponding seventh chord which The is the
same

the dominant

modes.

Their treatment

is similar, however.

table following

the construction of each.
chords which (Parentheses signify never used.)
are

passing
may
be embellished thus:
M
*^CI
or
(accented)
4r
00*^
cji"^
separated by the interval of
a
Between
two
two
chordal tones
fourth may
be inserted
thus:
diatonic
X
tones.Passingtones
are
spmetimes repeated:
g^rrrrh^"
*
Notice that the
"
is
a
^ctor of the tonic chord and is therefore.
Non-chordal which
tones
are
tones
which
are
not
factors of the chord
in
and tones (accented as passing they sound.
PASSING
non-chordal tone which is approached and direction. hence: j /K
X
or
| may
be embellished thus:
^^
a
4 1' V
*^
-
I
V
Between
two
chordal tones separatedby the interval of
hence:
third may
be inserted
X
a
diatonic
tone. anticipatory organ point and various A
compoiuidnon-chordal
TONE
IS a
tones. tones. neighboring retardations. ^hence: passing
#^
CI
IV
may
be embellished
i
The
t
I
m
^iv
as conunon.
TONES.
etc. unresolved neighboring appoggiaturas.
.64
CHAPTER
NON-CHORDAL
XI. passingtones do not necessarily
r\
chromatic
X
X
tonality.
accented passingtone
The in
is
more
effectivethan the unaccented
tone passing
but
it is not
than figure
the
a
downward
effectivein an upward passingtone is more Chromatic affect figure. An accented passing tone is one
quitted
which
in stepwise
the
same
the factor of the chord to chord. It is more tone is one which is in an upward scale figure. tones.An imaccented passing is attacked with the sounded
Between
on
of the chord. the latter portion
two
chordal tones
separatedby the interval of
fg f
a
major second
may
be
inserted a chromatic passingtone. delaying thereby effectivein a downward than scale figure which it progresses. They are classified unaccented).
paaeing toii9. not ttrictly tpeaking. tones. suspensions.

"
J.
etc.
(". The
upper
tone neighboring
an rarely
augmented second.
is by most
A non-chordal tonq similar to the
following:
^m
CI-
theoristscalled an
tone ''passing which ambiguity
a
Others prefer to callit appoggiatura." approached by skip.
is
usually
diatonic but the lower
tone neighboring
is
more
minor a frequently
does not
second below the chordal tone.NON-CHORDAL
TONES.
may
and may
be the upper or lower adjacent tone to the chordal be at the distance of either a major or a minor second.)
"^
i
i
(
Ex. necessarily
.
TONE.
08." The former name isfree from the "unaccented characterizes the latter name.
A
NEIGHBORING
also Called ''auxilliaiy tone/'is an
a
unaccented This
non-
non-chordal tone which embellishes chordal tone
tone
chordal repeated
tone.
(gf
C I-
gJ*
f=f
-vs
and the accented passing tone appoggiatnra is that the former is approached by leapand is consequently unprepared while the latter enters preparedalongthe scale line.
The
double
occurs appoggiatura frequently
as
an
AnscUag. J nH
f
Q!
I
etc.
6S
with the occurring chord
The
afpoggiatura
is an
accented non-chordal tone
chord and
downward resolving
to the or chromatically diatonically
factor which it delays.
A chromatic
tone neighboring
affect the tonality. The appoggiatura resolves upward (usually a minor second).
m I
d'i. occasionally the upper and lower adjacenttones precedea chordal Frequently and these non-chordal tones are called by most tone (unprepared) The differencebetween the theoriststhe double
appoggiatura.

usually
third.
GI"
Tones Neighboring
The
are
Vt
I
G
v.x
GruppeUoor
X
X
turn
isa group of chordal tones and non-chordal
/^
XX
/%
X
X
X
X
thus:
etc.
Some
theorists call
such
a
non-chordal
tone
a
"changingtone.
Bach.) (delayed
X
(unresolved.
Bach. neighboring The
the UriU
are
also ornamental
of the applications
An
tone
unkesolved
neighboring
tone
is
an
unaccented
non-chordal
a
and quitted of diatonically approached by skip.
.
the praU-triUy and tnarderUf tones.66
HUSIC
COMPOSITION. passing
TONE
a
An
is an imaccented
the chord with It may
which it soimds but
factor in the chord which
follows.
of which it is not
ward downpart.
VI
sometimes
repeated."
because of the custom
as an
among
misleading other theoristsof defining a changingtone
term tone to foreign
The
is
accented
ANTICIPATORY
tone.
be approached
or by skip diatonically
A
SUSPENSION
is
a
chord
factor sustained from
a
one
chord
into the
chord following chord.
neighboring tones.and resolved diatonically the daring
sustenance
to a factor of the second chord
of the second
.
resolution.)
thus:
etc.
IV.

The
delayed tone should
not
shown
and
in figured
the
foUowingexamples:
/^
Ex. Percussion usually ticm.
1f^n
Less
M
Vic. T^
s
-^
i i
8
Stt^iension 4-3:
102. by some theorists. Preparaand resolution should be in the same voice part. are duringpercussion
occurs on
an
accent.percussion.The the suspension frequently. ai^)ears a nd is sustained the first as a chordal tone (called to preparation) foUowing chord downward and progresses diatonicaUy to the (calledresolution) (calledpercussion) the ocmsonant tone of the second chord which was by delayed suspension.NON-CHORDAL
TONES. a retardation.
67
100.
**
suq)ension except in the progression is which in Chapter 12. suspension resolving upward is called.
i
-a^ sr
I i
1^
9-8: Suspension
101.r ir r
is resolved upward diatonicaUy.
J
C
^
ft
o 8
IV
V
m
Ex.
errors"
are
Grammatical
not
alleviated
by
the
cl the German
Sixth Chord
to dominant
be present in any other voice part Various suspensions at the distance of the interval of a second.
A
A
A A
r
or
"
A
A
A A
etc. over showing forms with the bass and the second figureshowing the interval which the suspension The tone of su^)ension the chord factor which is delayedby the suq[)ension. harmony explained The suspensbn is figured the firstfigure the bass with Arabic figures.
"\
tei
C IV
2:
4
V
.

'
1
jQ-(9-
A
m
SL
The
inverted.
inversion becomes
5 4
^
.
iii^
The
suq)eiision 6-5
does not
form
a
dissonant at
and percussion
is therefore not
as
effectiveas suspensions 9-8 and 4-3.B. second inversion.
.68
MUSIC
COMPOSITION.
The
6-5 with suspension ^*
6HS.
104.
is altered when the second chord of the suspension is of suspensions figuring becomes second The firstinversion of the su^)ension and the 9-8 7-^
6-6
.
^=^
Suspensibn 6-5:
-SL
I
i
V]
o
0
I
V
[ N.
J
I 1
m
lie
The above
examplemay
be
as analyzed
an
in the bass anticipation
or
as
a
suspension
in the three upper
voices. in any voice part and A suspension occur may voices simultaneously:
suspensions may
occur
in two
or
three
/^
Ex.
a dissonant factor is retained: Occasionally
i
106.
The
suspension 4-3
with the second chord in itsfirst inversion the second chord in its
is figured
9^. mversion is figured first ^^.second
inversion
6-6
^
.

"
I
Sh
i
f
109. homophoniccompositions.chords related and unrelated
be related.ji
Ex. has produced a dramatic effect Schubert.jij j. .* and sometimes The
to the tone
the
firstand last chords must tonic
or
organ
tone
the pointis usually may be reiterated
or
dominant
in his Erl King.
jij
J. The both.
^^^
I
i
C
V IV
The
organ
point
is a retained tone
in (usually
the
the bass)during
occur.
^
72nd
measure.
etc.
retention of
which.
. especially
tones
an ^Modern conpoten
use frequently
Non-chordal
form
the submediant
as
an
organ
pofatf.70
MUSIC
COMPOSITION.
of compodh important part of the majority tions.
chord at
"
Resolutioo.
Changing the 3rd. the dominant organ pointin upper voices: by using
sustained.i. 110.nj.

great
of
analysis
the
stepping-stones
The
tones.Vjj:ijfj'|jj|jjjjj|jj
Ex.
112.NON-CHORDAL
TONES.
less restricted
after
studying
modulation. Bach
(Musette). successful
in
analysis
becomes
benefidal.
Schubert
(Andante).
a
well-trained
to
success. S.
amount
Musical
are
experience.
.
"^_^^^_
Pianoforti
J.
'.
7"
Many
subtleties non-chordal
enter tones
into and
ear.
following
For
quotations analysis
work
show
the
application
Songs
more
of
the
non-chordal Wards
are more
further The and
Mendelssohn's
WiihotU
recommended.
a
logical harmonization
rules and
a
of
a
melody
taining con-
are
of
little assistance.

Bach.
or more
Tones
to
are
altered for one chromatically
of four
reasons:
(ist)
to produce smoother (3rd) modulate. S. S. In a-minor
J.
Schubert. The fifthof triads is frequently altered. Bach.f i^^ ^
CHAPTER
ALTERED
Xn. The triad is more the raised than frequently The other
roots. S.
73
F.
^m
"
"
"
^m
rr n r r (^1
"
^-^^
J.(2nd)to add esthetic interest.
CHORDS."
Jirc.
r r rirr ijjir
irr r r . purposes.
6. of scale tones. voice leading and (4th) to increase or alterthe tendency
Altered factors should seldom be doubled.
ncjf
7.
and the second scale step in both modes are frequently third in a chord is frequentiy altered for modulatory
. Bach.
root of the subdominant
The sixth scale step in
major mode
lowered.
f fir f
'
rjjifr'ii
J.ALTERED
CHORDS.
4.

(5) Neapolitan
(i) Raised
The fifthmay
Fifth.
. The raised factor has
strongtendencyupward chromatically. iVft^.
a. Raised fifthsin other chords result in modulation or faulty voice leading.V.
Sixth Chord.II
^
0 I 6+
-^-
-"h
r
1
rfO
1" 1" I
1
#0
1
4C
X II 6-f
I
n?H
IV 5+
IVJ+
Vft+
VJ+
Vg+
fe ^^
Ex. and Vls+ "^"1 chord containing
the fourth scale step.
chord containing the seventh scale step. and no (without the 7th)in the major mode and iv.and 05^ to a chord containing Vl+ and Vf + have tendency Vs-f.
"^-
I
5+
i
VII
6-f
a
iv"+
VI
"Wherever
a
scale tone
is followed by itschromatic alteration. (3) German Sixth Chord. (2) Italian Sixth Chord. V7.
^H^^t^^ If
Ex. In allother from above.
IV7.* be s^proacfaed In the
should augmented fifth
the sixth scale step. n The mediant
VI and VI7 in the minor mode. (4) French Sixth Chord.
1 1 3.b.74 The most
common
MUSIC
COMPOSITION. VI5+ and YlJ^ Vl2+ have tendency to a chord containing ambiguous chords and have some tendency to changethe mode to tonic major. major mode.
|tfe! I "^^^
"^-
118.
altered chords
are:
(i) Chord with raised fifth.
triad in harmonic
minor
may be considered a normal scale chord.}
and
n^
have tendency to
a a
has tendencyto mode. In the minor the second scale step.
*
-
'*'^ Ii^^ I". I5+ has tendencyto a chord containing the third scale step. aie
The
dominant seventh chord and ninth chord with lowered fifthare
available:
"See
ChapterXIII.
be raised one-half step in the following chords: I. or noii-chordal) (chordal
the alteration should take
placein
the
same
voice in which the unaltered tone
cases an
appears. Vo.IV. otherwise a cross rekUian results.

The majorare the following:
an
augmented
^
"tes"C
rVorii iiorV Y
i i
resultsby resolution
otyvP
The
following augmentedsixthin C major:
chord with doubled leading tone. tendency
minor
effecta modulation. normally
*8ce the
.
The most the outer
effective alteredchords
are
those in which two voices (usually various
voices)form
sixths in the
key of
C
augmented sixth. 114.)
(^. exeeptkm"
c
to modulate. The
m^K jta? normally
c
in
a
sixths in augmentationof the remaining
the key of C
major normallyeffecta modulation.
jCL
221
-T^-
m
%'
fcfe
^
vii.
75
(".)
{b. and has
augmented sixth: following
The augmentaticm
m
d the
HtSL
sixths in the key of remaining example 136.*
minor
are:
The
various augmented sixths in the key of
(^
Ex.ALTERED
CHORDS.
m
22:
IV
or
i
^
or
}^
M
m
The
I
V
II
vii"
II"
following augmented sixth in
a
c
minor:
/kl"b-jtg
The
normallyresults by
resolution in
chord with is not
common
doubled leadingtone.)
^^(^^(^^1^^
Ex.i
VJ^i
m
C Brahms
Vjbl
made
effectiveuse of the dominaiit ninth cfaoid in major and minor with
altered fifth.
116.

118. vii**of isthe factor most frequently doubled.
CIVo+V
iiq+Iq
iio^. The
Italian
Sixth
Chord.
(2)
This chord consists of from the bass.
6th Chord
Ex.
^This chord is like the dominant theoristsit is considered
as
the root.
1 19.76
MUSIC
COMPOSITION.
.iiiviig+ I
seventh chord with lowered
ciVo+V
and fifth without
I viig^. Original Same
follows:
ist inversion=Itatiaii
with raised root.
major third and augmented sixth reckoning
in the
Italian Sixth Chords
major mode
are
as
follows:
^
dzzz
C
m
-i9-
I
I
as
^-
IV0+
110+
T118+
are
The Italian Sixth Chords
in the minor mode
follows:
(I
Ex. fifth(present The original third) The
use
of
The normal resolutions of the Italian Sixth Chord
are
as
follows:
etc.
i
C
a
-WWSI
F
II IV
i
in both modes is not common.
By
KMne
such.
/"
% 5="rz2E:
-"S"-
i i
V118+
as
^
m
"^"i+
m
Many theoristspresent the Italian Sixth Chord
Chord.

)
g
or
bi
I
tf"
^E
.a. although sixth chord in Unless
care an
inner voice. The
characteristic Italian Sixth Chord
key is therefore IVo^.
the diminished third is found instead of the resolve by contraction.
Diminished intervals
or
c
IV
0+
Jf "
p. and such chords are often ambiguously Root Position *' and
"
ItalianSixth Chord in Second Inversion. progressions
The student willnotice that the melodic linemay suggestthe use of the chords with itis not unoonunon to find the upper factorof an augmented augmented sixth.
vnS^ in both
most
has power
effecta modulation of
a
to
the subdominant
key.V
IV0+
and
.
77
Other
for txamfiti as well as other doubUngs.
V"
in the above The fifths
fonn progressions
the basis for academic
to the objection
of the Italian Sixth Chord
in other than itsnormal position. are possible non-modulatoiy piogressioiis
(*.
""P-
iw
IVa+CorcV7
I
C
IVo+
12 ore
4
Modernists would not scoffat the
harsh but highly dramatic progression: following
Such
not vocal. are instrumental. a modulation to the relativeminor
to
may
result.ALTERED
CHORDS.
.
inv.) using no+.
augmented soth.)
(".
be taken in modes
(Seeexamples 132 and 157.
The root position and the second inversion of the ItalianSixth Chord are occasionally called "Italian Sixth Chord in used.
i
etc." In these two
positions.

(c.
-^9jS.
"i9-"or
g
H?1g-{H ^
|K. the German
used in root Sixth Chord is occasionally
position
called the ''German and is ambiguously and in second inversion.)
thus: factor.
Ex. theorists do
The
characteristic Gennan have C vii**5+
C IVJ+ and
augmented fifths. with the addition of the
is like the Italian Sixth Chord
as a
fifthof the bass
(a. nj^-in.
Like the Italian Sixth.)
(*.^" I ^
fc
^'
t^^
or
or
^
-2^^SL
zz:
"Wrg
'
is
Z
i
x.)
jg -09-
(rf. IVSt and ivS''" the fifths in progressions to avoid the fifths. Sixth Chord
*Uk"
in Root Position.
root and
V?." etc. also in third inversion.)
(^.)
w
(O
i
Ex. Original Same
follows:
"=
with raised root.g'
g
ClVg^VorlJ
The
ii|^-iiiorIo vii0|tl
civJ+VoriJ viiOg+i
fifthsin the above progressions are coimtenanced.)
m^^
Ex.)
chord
(*. without
is oontidcrsd
as
tach \i$aoms
thaorista.
\
U
^i^
-^Sh
-^
22.
(3) The
This chord
Gebman
Sixth
Chord.
Sixth Chord
as
Many theoristspresent the Gennan
Chord. Some
Sixth Chords.)
-""g"
-9-
(*. 126. inversion
German
6th Chord.
consider these chords German Resolutions follow:
{a. especially parallel resolved to II and ^ with suspension are frequently 6-5.78
MUSIC
COMPOSITION.
1st.
^Jte
\^
Sixth Chord
Doubling of factors in the German
voice
is not necessary in four
writing.
124.
125
m
most
fe
"
^
"
^
i
^
Altered iy7
1"
ite?
1
e
that
not
c
IV7
ivj+
Sixth Chord Notice is iv?"'".
g
fc
K^ 9-
\ \^
-w-
I
i
JO.)
(/)
(^. Similarly.vn^lt ~I and vn^l^ -I are tolerated. respectively.) (4.
.

The in
of a factor doubling four voice writing.)
ISL 2Z
-(9"i^-
(/.
79
3rd
inversion.) {".^"^-
41^
j"
"^-
^^
ivT
.
-9"zy
-^-
-ar
%
-"9-
-(9-
i
i
fr^
.
2nd
inversion. Original Same
Sixth Chord
with raised
follows:
2nd inversion French 6th chord.) id.
3rd.^2.
:k
isr
sc:
I
form the
XlOJ.)
g
.) (*.)
(A.) (^.
Root
Position.IV.)
(jr.
Notice that the augmented sixths in the Italian and German
.^.
g
i:
U
-f9-
^f=ffl
or
or
-^9-
jO^
V
""^nor
k
.
a-
A^n
-tf?-
?^
22:
i
CnttVorlJ
TnO||Ioorni V|t
I
c
il""StVoriJ Vtt
i
.
^^
Ex. with the addition of the
is like the Italian Sixth Chord
as a
fourth of the bass
chord
thus: factor.
in the French
Sixth Chord
is not
necessary
Resolutions follow:
(a.a. n and vn" (inmajor) and iv and vn^ (inminor) whereas the chords corresponding augmented sixths in the French Sixth Chords form the following vn" n^ and V (inmajor) and and V (inminor).
-49-
#
jsl
Y\"^^
i
I i% =1
JQ-
I
-O-
"W-
Iefc
c as
"75^
I
-bis^
iiO|t v|t
=
Many
theoiists present the French
Chord.ALTERED
CHORDS.r"|t
Sixth Chords
following chords.
^
22:
iva+
V|
(4) The
This chord
French
Sixth
Chord.
128. n.

Fourth-
An effective augmented sixth chord which is not included in the above groups isthe dominant seventh chord in the thus: in its third inversion. The progression fifths the parallel the French Sixth Chords is another way of avoiding mentioned heretofore.a-
I
cvy
.
majormode
with raised fifth
"49-
i
.
132. "
"=p:
i
J-
:zl
I I
^
^
V
-
k^
7
^
2:
B"
c
f"^
iv"+
ivj"
l^
are.
1
-v
^
-V
tg 1^
I tfg^ ^
-"-
g -V
"
H
22:
k
"*=:
lA
"^-
%
ifi 81
I
lA
I
of both the German and French Sixth Chords other than Progressions the normal progressions of the (seeprogressions given are possible ItalianSixth Chord). The Italian.
ist inversion."
tively respec-
"Chord
"" of the Augmented Sixth/' Augmented Chord
of the Sixth.
P
Ex.
3rd inversion."
Root
position. and French Sixth Chords of the German Sixth to may progress one to another.Fifth-
and Third"
and ''Augmented Chord of the Sixth.
The
names
of the
same
but are preceding augmented sixth chords have little significance
way
valuable in the
as
that all names
Some
text
books refer to them and Third.8o
MUSIC
COMPOSITION. Position.
firstinversion and third This chord may be used in root positipn. German. called the "French Sixth Chord in Root inversion and is ambiguously
etc.

.v
is:
i
I
V
"
bo
"
"
1^
I
cvjt^.* The mediant chord may be altered to an augmented sixth as follows: above chord is formed with
i^3
etc. The chord is more useful as the sharpsupertoniq in the major mode than as the subtonic in the minor mode. Palmer.
^
etc. H.
The
augmented sixth chord following
formation is available:
The
double augmented fourth major third.ALTERED
CHORDS.
8l
The
dominant chord in the minor
an
mode
with lowered seventh in its It
con-
third inversion also forms sbts of
effective augmented sixth chord. Ciii|t
V?
mtj: ii|
be altered in such
two
The
tonic seventh chord may
between
a
manner
that
an
augmented sixth appears
of this chord is the most
*Sm
of itsfactors. R.doubly augmented fourth and augmented
thus: sixth. The
root
position
satisfactory.
IV.
-/I
O. This chord has been named the "American Sixth Chord/' by Mr.
augmented second. and augmented sixth.published by The John Chofdi Co.
PaloMr't
TJk40ty i/Mutic.

-8S^
!^
Tg-
ig:
I*:
z
i
i
-^-
crb
5# Such chords
IV
as a
and lit require careful in|t resolution.
-b^a
i
Vifi
^^^(W
third is the factor most frequently doubled as in the above original The altered factor may be doubled and in this respect. thus:
altered
{4 *f. logical
treatment
"
a
smooth
and approach of the key are
Notice that the two most
salienttones
altered.8a
MUSIC
COMPOSITION. the jcxamples.
Ex.
(5) The
This chord is an
Neapolitan
Sixth Chobd.
and is
chord in the minor mode supertonic formed with minor third and minor sixth.
139. root position
Root
position. Sixth Chord differsfrom altered factors altered factor in the Neapolitan The in other chords.thus:
The
to tonic six-four or
.
Sixth Chord normally Neapolitan progresses ^'^minant harmony. thus: and in second inversion.
^m
-f9-
Ex.2nd
-t^
inversion.
II
g
-9-
I
It is occasionally used in
The
chord may be used in the major mode.
IZ.

8S
The subdommant mode
seventh chord with raised root and third in the minor
is available:
^h
in analyziiig altered chords is often experienced because of enharmonic Difficulty and editors to notate in a way which It is customary among composers offersthe least difficulty to the instrumentalist and vocalistin reading. For example.
Slop.
bl^nr^n.
etc. carefully
IftvocoHon to
TSCHAIKOWSKY.ALTERED
CHORDS.
"
12
iioj la
Sec
ClnpCtrXIII
.*
approached from
e
the notation is likely to be
as
follows:
The
should following quotations
be
studied. if the d-sharpin the tenor part be notation. the second progression in Example 144 is chosen.

chords in all major and minor keys; firstto 5. Resolve the following the dominant triad and second to the tonic six-four chord:

ELEVENTH

AND

THIRTEENTH

CHORDS

AND

MODERNITIES.

89

6.

Notate the

indicated progressions F
e

below: f minor
g minor
a

A D

major iia+, !".
I. major vii**e+,

I. major V|t,

bn^o^i2*
V7. bn**e,
V. uPi\,

minor

i. V|t,

d minor
"

vii^o+, i.

E

I". major VS"*",
i. V|tH, IV". majorra|t,

minor

major nS^,I^.
I. major vn^^t,

b minor
A

G

major #IV,V.
V. #11", V. #iv2|y

G
a

b minor
e

minor

vii^+, i.

C

IV. major I51,

minor

B

J^. major VDP|t
altered chords
are

Additional exercises on

in Group 14. given

CHAPTER
ELEVENTH AND THIRTEENTH

XIII.
CHORDS AND

MODERNITIES.

admitted no such chord formation as Theorists of the past generation entered as a suspension that of a ninth. The factor of a ninth alwa3rs or other non-chordal tone and
as such. To-day,ninth chords analyzed and take an important in the used without preparation are freely place musician'svocabulary. admit of no such chord Some theorists of the present generation was

formations
are

as

those of the eleventh and thirteenth. intervals with of

posers comNevertheless,

usingthese

called ultra modem harmonic

music

The sogrowingindependence. in to-day is opening new possibilities

structure,and onlytime can tellwhether or not the choidal of the criticism radicalismof thismusic willbecome established. In spite
the best of the "ultra" finds its way conservative, halls, and, in many cases, to the hearts of the audience. The well of identity chords of the elventh and thirteenth
to be to the concert

of the

are

not, as ]ret,

enough established

whollysuccessful

in four voice

writing

because of the fact that too many chord factors must be omitted. itis not advisable of these chord formations, # Because of the immatiuity for the student to attempt to use them at the presenttime. chords which oplythe skilledcraftsman should use.

They

are

average
most
ultra of the modem which follow show
music have been intention
Those
examples which
the
modem
ear
readily grasps. 55. tones.
Op.
166.for AfUicipaiians
In
example:
C
"PnUitlMd
V7
-
(II)
bf
Arthur
P.
I
N
m
etc. often result in an eleventh chord formation.90
MUSIC
COMPOSITION.
t^
I
^
t
. becomes an eleventh in the following dominant chord I The prc^pressions follow none of the academic rules for suspensions or other non-chordal these are eleventh chords. Schmidl
(capyrifht). No. Obviously. factor eleven in the chord figured vi^Jmay be But the ''3"in the above suspension as a suspension analyzed 4-3.
Edward
MacDowsll.
!."
^^
Ex.
"
23rd measure
(fe
^
ig6+
6+
Tonic
organ
point
or
I
""
example 155.
The formation of the dominant
eleventh and thirteenth chord follows:
Quotationsfrom the
avoided.
.

58.
^
zg
This is followed tonic triad. Many of the progressions.
MODEKNTtlES. 6) uses Sch3rtte
thirteenth chord formation: following
b
Ex. 168.ELEVENTH
AND
THIRTEENTH
CHORDS
AND
MODERNITIES. Similarly.
differ so radically from the two composition established systems (polyphony and homophony) that it is aiq"arent that an entirely new theorymust ensue. thus: poggiapura
OUivier in his PhatUdsie
a^
i^^P
Ex. of an anticipation
the mediant formation. in V-I progression the results in
a
dominant
13th chord
(op. this which
will doubtless be in the
near
dominant
chord
factor
future.
91
Godowsky in his free arrangement of Rameau's Sarabande uses the in the penultimatemeasure above anticipation with considerable suggestion of a dominant eleventh chord. the d has considerable chordal importanceand as unhesitatingly analyzed a
also be
is figured 13 " In other non-chordal tone.
accepts the d
A
tone
such
may the
or analyzedas a neighboring Schyttenumber. ninth chord
as readily an
by
the dominant
seventh chord which
resolves to the
as a
Many
theorists would
analyze this chord
the
ear as
mediant
more
"
in the first inversion)but
overtone.
Modernities
in musical
.
on an
uses Wagner's Die Meisiersinger with considerable chordal significance.no.
157.
"|
"
r
(g
T c vf
" -
i
"
This choid
is
precededby the tonic six-four and resolves to the tonic
triad in root
posidon.

i tself.
solution possible
seed for
thought.
. Cross relation is also ignored to a
great extent. but Beethoven. each in his time. vocal composition.which dictate
our
of many acoustical phenomena. by masters of the diatonic school. not Nature. of however.Ravel. by far. The ultra iqx"n the princq"les takes a new modem road. Theo.C3nJl Debussy Elgar. however.Brahms.
is a theory of ''horizontal" composition Counterpoint restricted. The principal to such beingfreely are now objection isfoimded upon the fact that an augmented interval melodic progressions interval to sing. for the time honored shows absolute disregard and a host of others.suffered similarly of their critics.
Augmented steps and skipsare also forbidden by academicians but used by composers. Fifths justify have been used. but is the more this Bach.rizing
present time upon
which
are
modernities
are
hazardous.and while drawingupon both the polyphonic and homq"honic concepts. The comprising serious compositions of the homophonic school draw considerably more and concepts of the contrapuntal school. it travels new at the paths. other cases by Richor Scott.^2
MUSIC
COMPOSITION.by certain "vertical" considerations.
while much
newer
of the condenmation
is
the diatonic system. where tonality
and even demand such consecutives. to the glorification in the use of The science of physics as well as the growingfreedom chord formations and
dissonant chords prove that it is oiur ears.Sibelius. repeating simplyhistory conunon. and effectively Beethoven. is a difficult restriction for a logical therefore. Adverse criticism of modernists is. and it is.
not
are
The
few theories
herein set forth
intended to furnish rules or offeredonlyas
a
princq"les
and
of ultra modem
as
but technique. Harmony is a theory vertical composition certain horizontal considerations. and Wagner.and used effectively. not. Unresolved dissonances are frequent in modem music and the treatment of dissonances is very free. Strauss. the
methods.and are now being used freely including by who are infinitely and thinkers than their greater geniuses composers critics. Schdnberg. ''rules"of the academicians. is.
be of the modem cannot compositions groupings accounted for by the rules of polyphony or homopbony and in many ard A glanceat a page in a score the rules are broken. at best.
lessvague. or disapproval ai^roval Consecutive fifths have been the bugbearof theoristssince the formulation of rules of under justified is more
or
and coimterpoint.

contrapuntal
and from horizontal concepts other than those of the older school.)
W
*e:
-""-
I :S:
lil|i% li II
To
the diatonic etc.
Several
new
chords may
a
result from
the whole-tone scale.
.
tThe
terms
tonic. in the place chords founded upon the g-sharp may serve of a diatonic dominant :t
suppose (^.)
Tg-^-^'
(^. ex-
isin the key of C with a frequent of the use composition whole-tone scale. The whole-tone scale is popularwith
oiu:
modernists:
Ex.subdominant.
pedal and frequentreturn
in
tonal
center
is
maintained by frequently
of such devices
to the diatonic
system..
For
ample. 169.
tonic chord.
much
music but have what
"conservative"
will supplythe
fifthin the tonic chords in perfect
Many (b) and (c) (a). etc. the modulatorypossibilities manifold.
93
Many
modernities
result from
an
equal division
our
of the octave. the
of superposing
intervals other than
usual thirds in
formingchords. difficulties in reading present
themselves in the
of many
as a
of the whole-tone scale which
*The
is also tme
the
use
other modernities. dominant. are Equal division of the octave in any manner alwaysoffers modulatory opportunities.
use prolonged
of the above
Great
example.will probablybe discarded
applyingtheory to
modernities.
3:
iP"
P^
:zt
I
P
2:
I
The
above
exampleshows
np modem
alterationsof diatonic chords
dictates of the whole-tone scale and willsoimd heard modem
ears
to the according to allwho have ''impure"
littleor
music
we
and
may
to those who
term
have
heard
ears. Notice the
ambiguity* any of the six tones in either of the above scales may be a tonic by proper manipulation hence.
m w
1 2 S
"
^^
4 5 6
2C
i
-p^
6
The two tonal
above scales combined
giveus the chromatic scale.ELEVENTH
AND
THIRTEENTH
CHORDS
AND
MODERNITIES.

t Simikrly. for a solution more compatibla
prsisnt system.
^"2-
augmented fourths:
m
ears
no
"f:
"6
1
^The "ff en
reason onr aa
author hat devised
from radically
a
Dotatkm which would
as
the present system its advocation would be useless. perhaps.however. For tUs with can hope."t major and minor scales justifies tions.
seem
to argue
that
some
new
fonn of notation
might be
by imknown Many worthy compositions because of been refused by publishers allprobability
A great many
composers have in these difficulties. not "Nature's Generator.*
are
other scales are
used. the diminished seventh chord (vii^t. In
present harmonic
three diatonic scale chords which divide the octave diminished triad
evenly. sam^
than of
a
of intervals other Superposition
new
third and
equaldivision of
system. Our
demand longer
the 7lMr"r
de^ardit*
.some
of which
similar to the
old modal the most
scales. The formation of the these chords. minor mode) and the augmented triad (III*^). we
have
chord formations other than those derived
oiur
from the whole-tone scale. the octave offer several
major diatonic scale with flatsixth is.
This would advisable. We
hut it offer fewer difBcultfet in the way of reading the present system does from the Gregorian. The with raised the least revolutionary. the minor triad is justified.94
MUSIC
COMPOSITION. chord formascale formations will justify new new Undoubtedly many
of Superposition
i
g^
I6i
4ths: perfect
"
^
"327
For
an
of perfect example of superposition
see
fourths
Rebikoff FeuiUe
d^Album:
of Superposition
ex. namely: the
(n^ and vn^). The
but frequent foiuth is also frequent.

(P P
^
'
r-
rpji^iji^ |J.
.ELEVENTH
AND
THIRTEENTH
CHORDS
AND
MODERNITIES.
point.:2!
33Z
^
:r-~r
^
in
^^
r
T"
f^
of augmented 5ths: Superposition
^^^ i (c^
This chord is like the Chords
the gives of
augmented triad.
}
\
f
J1
z
i
^^^.j [: i.
Beethoven
and others of the diatonic
use
school have used the minor
*T1ie F
can
but the modernists second. Even
S0| it breaks
an
it with much
be analysedas
a
tonic organ
academic rule by entering
nnpfepared. ^"3*
w
0
fr^
"
i
i
of Superposition
sths: perfect
^ 2z:
Beethoven
used them in the Sixth
S3rmphony:
Allegretto^
Ex.
I . the major seventh are frequent even
a
an
inversion which
clash of
minor second.iN= ^
ex.
164.
95
This chord is like the diminished triad without itsthird. \iy i^i^
etc
I
9^K=a
?2
.

diatonic Note
or
kind.
program
is
unique
has is
no
as
when
poem.
treating
Very
the
unique
clash is
Strauss This
one
chosen doubt the
this the
little
noticeable.
chromatic.
the
third time
measure
end.
in and the
again
measures
heard.
Such
which
a
practice
concurrence
is of At
the
most
innovation is
to
of found
modernists.
the in
high
their
strings
high
and
high
and the
wood the
S9und strings
b-natural
major
low is
two
b-natural
In
registers
from the alone
low the
c-natural.
Major
passages the
new
seconds seconds chords Two
are
also be
more
veiy
freely
in modem
used
and
scores.
more
freedom.
measure
from
the
end
the
bassoons
sound
the
following
chord:
while
the
cellos
and
basses
mark
the
rhythm
as
follows:K)*
X
IM^
In
the
fifth wind
and
f oiuth the sound chord last effect
as
measures
from chord
of
the
end.
ear
willingly
accepts contrary
accepts
the
abnost
any resultants
easily
ear
vertical
scales.
The The
consist it should for due other.96
MUSIC
COMPOSITION. Different radical
keys
are
sometimes the in
combined.
and in well-handled vertical
of
more
melodic of this how
lines
progressions
resultant.
to
of
c-natural be
tone
basses.
compaia-
tivdy
Many
horizontal
long
of
in
will result
or
found
or
less
accidentally
may the the
occur
through
taneously simul-
concq"tions.
are
fact
that
uiuelated
elements
isolated
from
. Thus
different the sixth
keys
be
Strauss'
Spake
Zaraihustra.
this
without
c-natural in cellos such
a
bass.
played
in
motion.

A transitory change of key which exists to does not exist for architectonic purposes
to the dominant
and variety
constitutes
a
transition.upon
complex structure as actual composition and althoughmelodies
constructive monotony. mode
(for
diange
And
a
one
of
tonality.
XIV. Part n well as tonal variety.'*' The
most
common
are digressions
and subdominant
gression (superdomiiltot) keys.
diange ci.
TRANSITION.and
tlie
. Some theorists are such a digression to a non-attendant key is a natural modukUian. Another that a diange of mode is neidier a modulation contradiction by slating aniQther nor no change of key takes place.
nineteen times.
are
monizati g^venfor har-
the student should compose melodies of his own. are dianges of tonality theorist has defined
a
mcduta^
as example:C major to c minor) and trtuuUwn theorist has stated that a diange of mode does not effect modulation.
keys and
to the mediant
and
submediant
The
name
modulaticm or tnmsition is to a key requiring the addition or subtraction simplest of but one sharpor flat. The exercises have deals with
more
resulted in tonal and
here. the structure of which should be decided by the particular form imder consideration. One
differentiatethe two
transition to fiidUtatsthe pres* made. the axdiitectoidc
times thirty
to
modulation to dominant
occurs
to subdominant only three times.w
PART
CHAPTER
MODULATION
AND
11.
to a new digression change of key in which a
A
constitutes add
a
is called moduloHon transition. A or tonality new key isestablished for architectonic purposes modulation. Such ke3rs called attendant keys.
*The
entation The Horn
two
as a
anthor has chosen titsM
and oi tlicsabject
terms to
tpedficdefinitiontof modulatioii
and
have become
for wliidi purposes extremely ambiguous among theorists. The progressions characterized of the material has been a "monotonic" one presentation the by simplephrase balance and periodconstruction. a digression
extraneous
called an
modulation.tDimode as the to the two former keysis usually made in the same made in to the latter two keys is usually original key whereas digression the q"posite mode from that of the original key.We enter. Obviously. might add
transition because
to note t It is interesting
that in the
works eighty-one
in sonata
form
ci
Beedioven.
has been to present the manner of the preceding object chapters in which simple melodies may be harmonized to which end all the chord formations together with their logical have been given.

98
A
MUSIC
COMPOSITION. paragraphof text which follows the latter example. 182. in the introducing
The tonic harmony in an unforced manner. The Italian and German
are
supertonic
enharanalogous.)
modulatingchord (adominant) is in an attendant key. To establish a remote key. page no. is necessary to handle these considerableskill iminant chords. togetherwith the
The allthe triads in C
following exampleshows figuring:
The
major with compound
I H I
F
^
I
"'^"
"ra?"
I
i
i
VIlO ifi VII"
"
I :' I : I
V
VI
IV I VI
G
D b
c
I IV VI V
F
III II I IV
a 0
bI"v
a
G
a e
b*"V
A similar example in minor follows:
V g " B VI I IV V
VI
bb
F C
V I IV
ft
VIl" IlO
A
b'' V
chords
are
Remember
that the mediant
and
seventh superdominant become Sixth Chords
seventh chord and may constructed likethe supertonic chords. chords. the dominant seventh or ninth or the subtonic seventh chord is frequently necessary.
of family
sixth chords of the subdominant
new
the
new
key are
all valuable
dominant.
a
is not necessary when
(See Ex. page 112.
change of key is effected by the introduction of the dominant harmony of the new key. i8i. the new key.
in construction to the dominant seventh and may become monically.the more is necessary to introThe more duce remote technique
the
new
dominant
the subdominant six-four.
. new phraseor period also Ex. although this manner
successfully. the supertonic and the augmented triad.

169.
seventh chords may become
examples.)
s:
. formulae. It iseven advisable at times to go beyond the objective key.
^
I
I2z:
b^
I
^ fi
i
Jk-
(s
^"^ vii^J
(".but with the contributions Many methods have modulatory of Beethoven to the evolution of music.
to a remote key.^-
i:^
"e
^
=
i
I
"
b^ VM^I ci^vii"7
vii^a vii"7 bl"
(^.MODULATION
AND
TRANSITION.) (c.
major and minor major triads may By this alteration.
170. especially modulating. any diminished seventh chord isenharmonically
other
into three changeable
keys:
(6.
99 for
The
diminished seventh chord offers rich
Because of the fact that the
resources
modulatory
purposes. dominant
tonic seventh chords and vice versa.)
gv"^i
#
Ex. of to introduce the salient tones of the new key (themost conspicuous which isthe leading in an inconspicuous tone) place.
"^
I bg_U^
^ ?
^-
^
":r
(af
b
32:
^m
"
2z:
fl^
f
I
b
f*
-"5""
I
"
"3C"-
i
viiOJ
d
V11O7
b
viiO|
=
VHO7
vii^a g* vii^^
All the diminished seventh chords The
occurs
are
shown
in the above
alteration of factor three in for
modulatory purposes.)
I
(^. soimd to the minor
in augmentedsecond is analogous
third. such formulas became antiquated. chords frequently
super-
become
minor and viceversa.)
i %_|_|g I ^^j^=|gz=i=|g
i
a
=
-fSh
"^a
I
a
""s"-
^
=
I
^
vii^2
""
"
yi^7
vii^7 vii^l e*'
(^.
It is frequently desirable when
.)
vii^a
M
f*
vii^^
(^^^
Ex.

at first. the bass by writing
a melody as Secondly. C
to
This work may in the upper voices. be done. usually
Exercises. a to d. C to a.lOO
MUSIC
COMPOSITION.
ing interestthen harmonized. C to e.
transitionsare to be made
the sparingly.
Modulate
from C to
G.
as
should possible The
be written for each
modulation
and
2.
B
-transitional to" """-
^^irlf'TlLaT ^
A"^f\
^^
-tf'-y
i
B'"
--b^
"
. a
14. a to e.
Altered chords may be used altered chords may be effectively
as
used. Group
1.
star indicates where
with
simplechords.
although they serve
statements
serve
a as much originality as
as
a
mechanical
guide. and
a
to F.
F.
following melody should be harmonized
where indicated. HL-fr' ciT-'r
^
w.
Some
of the notes should be treated
non-chordal. The
are
similar purpose and formulae
not
abstract preceding to bind the student's likely
do.
Tito Mattel
g
minor
'^Mr
r
i ^
bfrJ
t^Fff X
'i'U\[-1ti
X"|xxiJ]r3j. part and then filling
to
C.

particular style obtained by some are one knowledge of style therefore desirable to be well informed upon
The best resultsin any all the styles.
York. and the string human voice. but for an of orchestration. 171.
C. a text devoted to this subject an adequateknowledge is necessary as well as personal contact with orchestras in the capacity of listeneror performer.1
f
*
Ntw lagUth tfBBsUtkm pabUshed by Carl Fiidier. and it is the
of the possibilities the pianoforte.
/
6"
. The The tonal compass of the Pianoforte.
Chromatic.
. the brass choir.
Ex. Chaminadb.
Andantt
d minor
?\ iM^ri\o^u^im i"f"j
a
minor
C
CHAPTER
THB
XV. quartet. The knowledge is invaluable aid to composition of orchestration in any style.
follows: pianoforte
Sva.
The
student of free
will composition
be desirous of
in writing
the
in which he is most interested.
lOI
3. above Modem Sling's OrchesProHon and InskumefOaHan* The wind
text book
is also valuable to those interested in the wood
and the military band.One of the best text books upon orchestration is Professor H.THE
VARIOUS
STYLES
OF
WRITING. choir.
OP
VARIOUS
STYLES
WRITING.

1 Ped_\
Ped.^
Ped. heard.102
MUSIC
COMPOSITION.
Moderate
CantabiU
tr
J Hyfa
Ex. The voice great variety
care
parts are
well individualized and
must
therefore be taken to allel Par-
write for this instrument with the individual voice parts in mind.^
J
Ped.
. I Ped..
Ped.
I
Ped.
4. etc. incorrectly often difficultto detect upon the pianoforte are when chords. quotation
The demonstrates:
F. broken chord styletogether with harmonic figuration rh3rthmic The following is particularly well adapted to the pianoforte.
172.
"
^
I
I "
"
I
"5?
#-i
"-
jt"t \\m
f
1
"^
Ped.^
Ped. relations.
The
pianolends
not
itself to
a
of styles of writing. 66"No.^
Psd.
nant cross resolved dissofifths. augmented leaps. Chopin.
Op.

the chords are well brought out and die quotation The broken chord in the lefthand does duty for several voices and the harmonic effectis the same heard simultaneously.
Voice parts upon the pianoforte may be added or discontinued at the of the composer and melodies and voice progressions pleasure may be in multiplied literature.
are
The
broken chord in
the style permits arpeggio
use
of many
voices:
Ex. Quartet* String
Many and rich resources
are
found in composing for the
is offered in this Greater scope as to voice compass and technicalities in the vocal style. from which is written throughout in arpeggio style. introducing fizskaio.
and
ponHceUo. 174.Chords are possible than is possible of writing style istherefore each of the instruments of the quartetand the composition not limited to four-part writing. quotation in
twelve voices may
tones:
appear. ii. The Stiong
octaves.I04
MUSIC
COMPOSITION.
173.
.
but two voice parts.as many
which
case one
as
the above
is taken.
Chopin's Etude.but apparently is not contrapuntal.
Without breakinga chord. No.
loco. as thoughseveral voices were In the above there quotation.
Parallel octaves
therefore abound
in
pianoforte
Quartet.Varied effects may be producedhy
on
harmonics muted strings.
in each hand plays two finger
Ex.Op. lo.

176.
tmblM of
When
iattmiiieBti iIm ttadmrt tlMMld have wridng chords for dM ttrliif
dwrdi phjpmblc
reference. firstviolin corresponds to the sc^rano. used in flat keys.
of
By be produced.O-
IBI
All chords below the d
instrument unless the
or playedarpeggio
string are. therefore. The
to the
viola and 'cello.
The four
of the strings
violin are tuned to
gf
^
~Y
df-^
"
)"
a
( cb
""^
J ^^^
^
f^\
J. In writing should be sustained.
and the 'cello to the bass. Sharp keys are.THE
VARIOUS
STYLES
OF
WRITING.
Open
tones
are
often
tones
are
possible upon
the violin. and four three. is more A tone producedupon an open string than a tone sonorous which requires more fingering.
written the tones
more
of which
are
to be sounded
two simultaneously. frequently than composingfor strings ^ the note.
^=t
Several tones the
use
than higher
the above
may
be written for virtuosi.
than indicated may tones higher harmonics. constitute the string second).
or
four tones.
are
to performers
the part are necessary and the chords
*
marked
divisi. over designated by an Chords'*'of two.
lOS
Two
violins(first and
quartet.
.
The
Violin. the second violin
tenor
the viola to the alto. The
compass
of the instrument
follows:
0
. impossible upon a single is lowered or the chord tuningof the strings
Where such chords
are
or
tremoh. Such tables may for readjr
be foand faimost
treatises apoa iastrameatattOB.
Ex. not
over
two
tones
not
.
Chords of two tones may be emplo3red pianoor forkfbut chords of three four tones for a single or performershould only be employed in forte chords of three passages. of course.

f-4"
The
low and middle
the third line and the
of the viola are notated in the C-def registers in the G-clef. 179.
effective upon the violin.
unison may
one
be
of the tones
employed effectively upon d. The The four 'Cello
(Violoncello).
tuned
to
c
of the 'celloare strings
( "9*
)" S ( 9'
J
d
(9
"g
and j. 1 78. the middle on on any staff degreebut usually is notated in the C-clef
commencement
or or
is also notated in the C-def register the fourth line.io6
MUSIC
COMPOSITION. Arpeggi. a and e.
St
-^-
m
^
.The
practical compass
follows:
Ex.
^' I
tremolos. but when following the C-clef the notation shows higher the actual sounds.
the G-clef
The
notation in the G-clef at the
tones
an
when
the F-clef indicates following
octave
than theysoimd.
The
and
all musical
ornaments
are
Viola.the upper register
.
The
case. tuned to
c
The
four
of the viola strings
are
f
ment of the instru-
d
f IHI
^
and ji
a
f
|^[
j. upper register this instrument is
upon
All that has been said of the different effects upon
as
the violin as well
to applicable
of the
for of writing technique
the
viola. The
lower
and
middle
are registers
notated in the F-clef.rapid passages.
a
f "9*
J. in which will be produced upon an open string:
1V ""1^1
Other imisons offer technical difficulties. The practical compass of the instrument follows:
Ex.

not be
of an instrument influence the possibilities of duplications.
Exercises 1-3 in Appendix B.
||
Modulatingback
endingin
C.
or
May
may
not
repeat. third
beinga
restatement
is obtained
by
the appearance
. Group
Harmonize
15.
if regular. Such an arrangement need not.
if
||B
I I
(Consequent).one third.
107
That
that has been said of the violin is true of the 'cellowith the
as
modification that the 'cellodoes not lend itselfto the violin.
omission of chord factors cannot be boimd by rules. the Occasionally
manner
fifths. are adapted to three sectional arrangements. but artisticchord effects should and number sacrificedto techniques of an instrument.
chestra.BINARY
AND
TERNARY
FORMS.
are
obtained
by deviations from
the above
arrangement. The contrast
three the
the divisions. to directions. in which case compositions is duplicated voice chord for strings a four or more by wood wind and brass.
page'147. necessarily. and. F. or Duplication where many tive In orchestral composition are duplications necessary.
2nd Period
diagram:
i
A
ist Fteriod
(Antecedent). Duplication
of
rapidpassages
as
Factors.
| |[
ri
IZZZZ8
or
16 measures.~
S or
16 measures.
or
rggMlar.the chord contains fifteenroots. Key of C modulating
e. in fact.
I
The second
consists of three-part composition simplest and part being a contrast after statement after contrast. etc. according The work in AppendixA should now be commenced. or-
A remarkable
exampleof
is to be found in the last measure duplication Rondo for violin and Capriccioso
two
of Saint-Saens' ItUroductian and
and Here.
a or
May
may
not to and
repeat. preponderatein the so-called orchestral colorings orchestral composition.
The Tonal
consists of two balancing simplest two-part composition periods.
FORMS. effecand ingenuity of the composer as resultsdependupon the experience well as upon the character of the composition Some orchestral at hand.
CHAPTER
BINARY AND TERNARY
XVI. is obtained is modulation in shown the as variety by following Diagram
6.
I
to G. technical
Exercises.

These two forms (binary and ternary) serve as the basis for the more elaborate forms. ally may occur.
contrasting
may
Recurrence
of Theme
I in the
varied. Gavotte. but too much transitionand transitionto remote keys (especiin binary Is main the in to obscure form) likely keys short or simple compositions. The classical and modem suites should be carefully studied and also the waltzes.ZztzMay repeat. or. Many composers.sometimes
Most modem
dance waltzes
music
are
from
the old dance
of the Classical Suite to
our
in either two-part or three-part form.
and
three-part compositions:
Gavotte. LI not repeat. or 16 measures.xl regu]ar.May not repeat.^
1
'^1^ I
kw
InF-
^u
s
t
^
A
. in other words.etc.ZljL_.
Transitions
be
key. Two-part form often presents similar construc"
followed by a consequent period. or may or may Theme
II in
a
I in the key of
be made.
180. The show two-part quotations following (Binary)
A
xst Period.
made. transition.
signature.
of
a
the
is obtained by the appearand tonal variety motive. Corelli. as form.lJlS if regular. unity preservedby of the "home at restatement. 183. ance Tonal is of the second part in a new key. of the songs of Schubert and Schumann of these valuable examples are
an
antecedent
forms. original
Sometimes
verbatim. It will be remembered that in the division of a period.io8
MUSIC
COMPOSITION.
or may
if
May
Theme the
may
not
if regular.of modem analyzed. period In two-part and three-part well as modulation. marches.
ZI8
or
16 measures.. Frequently whole shows binary a as a composition shows one of or ternaryform also a well defined part of the composition these forms. we
had
thesis
and
a
antithesis.
Ex.Ilt8 or 16 measures. The following key" reappearance
new
theme
or
diagramillustrates:
Diagram
7.
'\" |ii r
'
^ :i .Transitions
key.) (SeeBach. Ex. an antecedent division followed by tion consequent division.

Analysis
is the
key to
success
in
the understanding
ways
in which
compositions
in these forms
are
varied.
follows:from
to G
and from
G
to e. e minor.
measure.
there is a transition
from G to b returning to G in the sixteenth
The
above
They are
are
quotations exemplify simplebinaryand ternary forms.
n-j
-e
TT3i"^r!l. The modulations are as
e
the example.*. The second key of the relative major but ends in the original key.
At the fifteenth measure. period (thesecond A) is in the key of e minor. r
"e minor-
^^
f
tf fc
r
fj
"
^^gj^T^^
1"
E
'
M
t
i
"
E
^X^XJ
ITTT
f I
Ml^^
In the above
periodB
The
is in the
third
first period A is in the key of e minor.
113
^m
^
? HLi'
-54"
i
i fit 5 "."". of the terms and examplesof the forms in the strictapplication
6 diagrams
coincide with
and 7.
. Many binary and in less regular construction and many are more
ternarycompositions
elaborate.BINARY
AND
TERNARY
FORMS.
vii" V
e minor-
I^N=^i^^lr i r II.

A similar construction is possible form.
Second
I
First theme verbatim tiieme presented in be or may of the ways previously varied by contraction. Bach..!
the
same or
I
of the
Comnendng and ending in the key signature. but a careful analysb by which is gained complexity upon a basis of ternary fonn.
of two themes. S.
Third Period.
UMay
or
may
not
repeat. end To the main
First theme
one
in presented
of the ^lays
previously one
described."4
MUSIC
COMPOSITION.
Commencing key as theme
and
i.
The
foUowingdiagramshows
a common
ternaryconstruction.
First Period.
tr
comp"osi-
J.
The
Diagram S.
of the application simple
above
structure
see
Schumann. English Suite
No. and in otiier means.both a composition foUowing diagramrepresents themes of which are in the same key but in which several other tonalities of the same main key for both transitorily occur.
Tlieme
2.One transition or
several are made.=t:
of d-minor
First theme
.
1
r r 11.
A
in d minor.
key of the composition
formal is its principal
obligation.
ending in
One
are
transition
several
made.
B
Second
Period.
9 and the
Each tion
division isin
as
a
form similar to Diagram three-part form.
The is shown
construction of Bach's
in the is in two
Gavotte
from
the Sixth
of following quotation
the upper voice part. expansion described.1
IMay
or
may
not
repeat. Op.
188.
For
a 20.
irfjt \3"
t^fTr^g
ending on
the dominant
.. 68.
(Theme i.
Many
constructed may at first sight similarly compositions appear too complex will show the means for three-part form.)
not
B
Second
Period. hence the desirableness in three-part themes. Diagram
First Period. This composition divisions called Gavotte i and Gavotte n (Musette).
Ex.
9.)
iMay
or
may
repeat. whole is in three-part
Gavotte I.

ality, similarity althougheach theme has individuand the composition can hardlybe considered what we may call a monothematic composition. For such a compositionsee Schumann's rrawweref (AppendixB, No. 2). show

considerable

Exercises, Group
(Binary )
1.

16.
Menuet W. from Don

Juan,

A

A. Mozart.

INTRODUCTION

AND

INTERMEZZO.

"7
B

Eju^lffM^
(Ternary.) A 2.

Gavotte, C. Gurlitt, Op. 172

"

^ ^
B

1=4:

i
J

I

ji
*

J

J j_i ij

S
w^

^

14;

jjTJ;^^ ^^
""s^

fftrr^TfflT^
M
J*'
I*-

P J jjs^ ^Sm^Uj:^^^f^fI\
q

^^
3. Harmonize

^

":
"*-#-

Ktf

i^=

^^

^S
Example 183.
Continue the work in

AppendixA.

CHAPTER
INTRODUCTION, A

XVII. EPISODE,
AND CODA.

INTERMEZZO,

is frequently A measures. precededby introductory composition in long introduction may form a satisfactorily completecomposition itselfsuch
as
are

foimd

measures introductory
*

in many The etc. overtures, sets of waltzes, foreshadow the themes, establishthe main usually

Arthur Copyright, 1890,

P. Schmidt.

ii8

MUSIC

COMPOSITION.

key and
such

sometimes

the

rhythm.

In

case

that the

do not foreshadow
measures are

that that is to follow but

measures introductory simplyestabli^ the key,

often called prdudein contradistinction to itUroducUon.
are more or

The tenn

which to oompofiitkms frdude isalso applied of free improvisatic"i but not Prdudes, Chopin's be found in

lessfree in form
an

and of the nature the teim
may

Such introductory.

of application

of short introductionsand preludes foUow: Quotations
Bkbthovbn,

Op. 46.

Ex.
184.

Voice.

^I^"?

etc.

^^^^^p
F. Liszt, Du

"""

--

Bist IVie Eine

Blume.

^^m
Voice.

to
con

Adagio

tenerezza.

etc.

^MfWtx

^^

E. For The Magic Fluie. of scale passages. Overtiue. first15 measures.
12. etc.INTRODUCTION
AND
INTERMEZZO.first17 measures.)
.to the entr'acte.
movement. Johann Strauss' (n).
Op. and of irregular construction* may be of any length It is characterized by the absence of definitemelody and usually consists The of melodic
passages
W. No.
intermezzo has two
particular
fimctions:
(i) as
a
substitute for
interlude between
two
theme and (2) as an contrasting themes. first10 measures. ScHUBBRT.
The
a
or
of broken chord
of transitionalcharacter. Ludwig van Beethoven: Sonata Pathetique. Emil Waldteufel's and J. inUrmeMM to the intermediate and occasionally to a movement of a symphony.
^U
'
j
'ij
*The
term
dances of the
Is also applied to short compositions. Grikg. second suite. (See Goets's Syn^hony.
186.
"9
F. A. The following contrasting quotations
exemplify.
Am
Meer.
Ex.
3.
of long introductions the student isreferred to the following examples compositions: JosephHaydn: S3rmphonyin G Major. Mozart:
Inteiucezzo*
fragmentsin sequence. Gungl'sWaltzes.

^^^-i
T
sa/
Notice the
second theme
less contrast
two
themes
up
before the
the last half of the intermezzo.
Ex.
I
^
I
I
(^
{^m
^""
#-
i
^
^m
^P"
#-
^
i \
.
Scherzo. KuHLAU.
is made
of material from the first theme
thus
making^
than is usual between
contrast.
A
Theme
I in C-major. however
codas.
k
*.
themes.INTRODUCTION
AND
INTERMEZZO.
12 k:.
furnishesvivid
up
The
restatement
after the intermezzo is made
of material from both' themes
and is not unlike many
Fr.
The
intermezzo.

m
" " "
m^
^
Notice
measures
that the second
theme
leads into the intermezzo. or movement. or other material. Intermezzo
A
group
of
of this type marked Cadences theorists. Episode The
Extended
(inthis case. is more melodious and partakes Episode.
termination
. back to the main key where the finaltheme (2)to convey the composition ends in a different key. the final cadence. form.
might well be analyzed as extension of Theme II) and is so called
by
some
The
has similar functions and is similar in character to the
the however. character of a subsidiary Episodesoccur in Fugues and serve of a fugue theme.
"3
Theme
I
repeatedan
octave
higher.
The
Coda
is a chordal of
a
or
thematic
appendageand
follows the natural
The functions of the coda period. are (i) to emphasize the motive. Intermezzo.THE
EPISODE
AND
CODA. For an the repetitions as intermediate parts between from Mozart's String example of an Episode see the Slow Movement and extending Quartet in C major commencing at the thirteenth measure Theme at the twenty-sixth n commences through the twenty-fifth.
measure.and (3) to summarize the material of a composition. theme.

||
""-
Bb" Principal Subject. Principal
.
A
-S
measures.187. episodes.
Analyze the harmony
Examples 184.
Recurrence.
Recurrence
section Contrasting in g.
Exercises. in | rh3rthm.
.
section Contrasting ending in F. Group 14.
A
*
"8 m^asiir^. page
100.
an
3."
I. contrasting themes supplantedthe indefinitesection until the fully form developed The following culminated in the work of Beethoven. containingintroductions.
17.piagnmi
"
10.
Exercises 4 and 5 in Appendix B. Principal
Subject. Codas which smumariz^ the material of a composition see are usually long."
.186. and 150.
of a principal consisting nounced subjectancomposition after contrasting sections.
A [j
8
measures. Write
4.
introduction and
in
a
coda for Exercise 2.
C (I
of
8
measures.
CHAPTER
THE RONDO AND THE
XVIII. .
B
4 mieasures. measiues ending with a perfect usually The Rondo
a
is
Between
each
recurrence
comes
a
section less definite and
to furnish contrast
with
no
and tonality aggrandizethe principal subject As the form developed. for example. 189.188. 2. Strauss. of eight cadence. ' V
. positions The work for this work Original in should composition also be done.
. standard c("iichaptershould consist of analyzing and codas.
laS
Tie plagal dose may be considered a short coda.THE
RONDO
AND
THE
VARIATION
FORM.
gave
to the coda in the great dignity
the firstcomposer
who
Sonata
Form
and in his
in compositions
. Recurrence
of
Subject.
D
14
measures. Principal
"
m '
* "
-^
AS II
measures.
codas to the orchestral waltzes of
was
and Gungl. of
. pages Appendix A may be finished. 185. Group
1.
Cp/itrasting section
ia Bb and c.
this Form
may
be found
long
and elaborate codas. intermezzi. The earlycomposiand reciuring tions in this form are primitive and consist of a subject of definitelength.
Subject. Beethoven Waldteufel.190
and 191. diagrami^ows the of a Rondo by Couperin: structure
.
apparent objectin view other than
in
. 149.
VARIATION
FORM.

elaborate extensions.and is occasionally eictended. in its several recurrences.
li C
of
i4mBunn" in Episode
Subject in Ab.
11
is not restricted subject principal that it occurs with the exception at least three times. The intervening sections may consist of contrasting The or episodes. on principal subject usually sections often lead into the principal whereas the intervening or subject is occasionally The princqial varied subject pause on a semi-cadence. The third movement divbions of the composition. Principal Repeats 8va with varied accompaniment. Principal
abi B. thirty contrasting The
movements. of Beethoven's in structure shows great complexity Paihetique the harmonic and formal structure of should analyase Sonata and the student this movement.
a
The
or more
Variation Form
is a term
themes ispresented and older
in which one composition in variously re-presented di"fering styles. In the highly complex Rondo Form may be found transitional measures.
7
measures.
Recurrence
and
Subject.136 The
MUSIC
COMPOSITION. Bach's Vanaiions on an Aria in G Major which is a Sarabande variations.
\
CODA.
to ai^lied
of the Variation Form were principally concerned examples with a groundbass which served as a basis for building vafia" subsequent tions. contrapuntally. S. each occurrence doses with a final cadence.
Episodein
f-minor.|| ||
la
8
measures. Here. second
of Beethoven^s
developed highly 5iMiato PolAelJ^Me.
foUowing diagramshows
movement
the structure
Rondo.
. themes. Bach used the harmonic structure of the with thirty Aria as a baas on which he built.
a more
of
II.
A
B measures. The most highly is to be found devel(^)ed exampleof this style in J. A 8iiieasiifat(repeats). sometimes with changeof harmony.
A
8
measures
(repeats).
The
number
of
recurrences
of the
and codas between the various passage work.
The
Variation
Form. and Ab.iniermezzi. often appears with varied accompaniment.

A theme compositions A should be chosen and in this worked
out
principal ways the of style (i)by changing
Some
of the
in which
a
theme
may
be varied follow:
in variations in the various
ways
enumerated Form
work in the Rondo composition chapter. (7) by obscuring passing of the tones of the theme. In
basis upon which find contrasting themes (see
as a
Haydn'sAndanie
is the
most
with Variations in F
of which the first Minor) serving worked thorougjily
out. epic-like is necessary to successful results in many technique Contrapuntal a theme such as are good resultsin the ways of varying cases. etc.
For such
example.THE
RONDO
AND
THE
VARIATION
FORM. AppendixB.
and important
therefore most
sodes.see Haydn's F Major Sonata for violin and clavier (slow movement) which should be analyzed.
and Variation Form
Exercises.
the acounpaniment. cadenzas. Epi-
made their variations. (4) by changing and often a new notes thereby a new metre. a.
137
a theme Later.. but fairly listedabove may be obtained without such knowledge.
as
well
as
a some
ground bass served
cases. Compose a theme.
Exercises 6. (8) theme by arpeggio figuration by inverting and the of the the intervals or contracting (9)by expanding theme. (3) a new by writing the length of the various of the principal theme. intermezzi. pages 150 and 151. 7 and 8.
.. the intervals in the theme.
we
variations
were
built. harmonize and treat it in a manner
of at least eight measures. 3. (6) repetition tones ornamental to the tones of the theme. Group
I. (5)by obtaining rh3rthm of certain notes which may or may not changethe metre.
18.scale passages. less readily to the Variation Form than an theme lends itself lyrical theme with potentialities. should consist of analyzation of standard The work for this chapter in the Rondo Form and in the Variation Form.
and Variation Forms
are
The
an
sometimes
combined.(2)by changing theme to the harmonization harmonization of the theme. page 125. Compose a theme
five
or more
and write
variati("is. by introducing the tones between the tones of the theme. appearance as well as elaborate codas.Original may be done. harmonize
similar to
Diagram 10.etc.and to-daywe have a highly complex form which exists as a completeopus number or as a movement introductions to of
a
Sonata Rondo
or
Symphony.

Minuet or Scherzo. A
a
movements
be in Sonata
Form
or
in any
of the forms heretofore
is called of three
for orchestra similar to the Sonata composition Symphony." The Exposition consists of two and the third part (A) Recapitulation. Allegro.
the need of contrapuntal skill As the form grows more complicated. The Sonata and Symphony sometimes consist The Sonata Form
movements. disposition "Slow". Previous to The term "Sonata" the term the work of Philipp Emanuel Bach (1714-1788). A common tonal scheme of structure is shown in the following diagram:
. is applied in three (Merent ways. Tliis chapter. and The Sonata Form
the greatest amount requires aims only to the equipping sufficientto of the student with knowledge and appreciation the analyzation of the Sonata Form.
in a broad sense. the term is used more for solo instrument (usually in and is applied to a composition conventional lines. The first is.
FORM. of the movements is: ist movement. therefore.
I
consists of four separate usually movements. Three-Part Form. themes in contrasting or more keys. 3rd movement. in The first is frequently movement preceded by an introduction usually The following is in Sonata Form." part (A) is called "Exposition. slow tempk). four separatemovements) based on more the term is applied in conjimction with the term "Form" (SonataForm) of one of the movements of a to signify a certain structure or more
complexof allthe forms of technique. the second part (B). The first movement
The
modem
Sonata
may considered. used was and meant almost any kind of a composition for instruments in loosely contradistinction to the cantata. nitely defiTo-day. each of which is a complete form but allof which constitute a whole with more The common between the various movements. or less interrelationship 2nd movement. the Development consists ot an in the motives of the themes in k of the lateht possibilities unfolding consists of a restat"ebitof Bie the Recapitulation transitionalmanner.
isthe most
Sonata. 4th movement. Thirdly.lis
CHAPTER
THE SONATA
XIX. becomes more when considering apparent and this need manifests itself the Sonata Form. Allegro. with iemphasis themeis of the Exposition upbn the main key."Development.

passage work of rhapsodical. brief analysis.
sounds
The
c
an
e-flatinstrument actually
the scale of e-flat. the Sonata
3
concertos
are
written in Sonata Form. All strings. episodes.The or lesschaotic tonality us contrast more occurs.
found frequently
in the
of
and trios.
(A
Exposition. may. Leipxig.conclusion themes
movement. the first movement in E-flat {Eroica^ Op. quintets.*
For
a
of Form.
example of specific Beethoven's Symphony No. The Development
and is the complicated part of the movement the character of a free fantasia. etc. occur. giving form with emto the themes in their original return at Recapitulation phasis and givesus unity. new germinate and variety. are treated as tn^nsposing
*The
orchestral score
to
this
Symphony
as
should
be in the hands in his
of the student
that he may
analyze
the harmonic
tore most
score
as progressions
well
is obtainable in the
of the Form.
to assist him
music dealecs. of course." written "conhorns.
the Recapitulation Not infrequently Transitions. and codas
are
verbatim).and trumpets are "transposing
for the B-flat Clarinet
or
B*flat Trumpet
really higher
sounds
b-flat
J
therefore the tones written scale of
are
notated for
a
major
second
than they actually sound. quartets. flutes (inorchestrations). movements Overtures. written in the g-def.
|J"B D9TBlopiiiMit~ ifC
Recapitulation. the main key and the second theme in the main key. Trombones tones they accordingto instruments in b-flat. notice must be taken of the fact that the clarinets.
or
section is the most
cadencial
of themes (sometimes sometimes material.THE
SONATA
FORM.English cert. 55) is chosen for
In analyzing orchestnd score.and trombones (when in the bass or c-defs) the sound. upon the main key roimds up the movement themes. theme usually in the subdominant the first is in two contrasting of keys.
f39
piagram
12. large
. oboes. Subsidiary transitional. Oftentimes it partakes musical thoughts from the original motives and Here.for horns.bassoons. that is. however. repetition varied. least rigid. are tubas. Notice that such
a
tonal scheme
keysfrom
results in the reappearance of both themes in different those in which they appear in the Exposition. an instruments" and are written tran^"osed. An inexpensive mtnia" analysis and is for sale by Payne Series published by Ernst Eulenberg.

is foreshadowed. The transitions are radical and interesting. founded upon the rhythm and ideas of the princq"al a passage measure Notice at the one and subsidiary themes commences.theme
reappears
for further
theme above. measure 348 to 279 and elsewhere. At measure sounding 4x6 the firstviolin and flute sound theme x in D-flat (measure409). two bassoons. and quartet of strings. This episode 322 in E-flat minor. 362. The tonality transitional measure a connecting vaguelyestablishedand at the sixty-fifth passage leads to the second theme proper (which is in the key of At the one hundred and ninth b-flatmajor) at the eighty-third measure. study.
x
isheard in the horn with the radical accompaniment mentioned This is followed
F-major. t3anpani.
is reiterated forzando for four
measures
The
key of f enters and rhythm in these four
in effect. This placehas caused much discussion and many amusinganecdotes and mistakes on the part of musicians and publishers. reappears at measure
At
developmentand evolves. At the end of the Exposition the material is. measures 394 and 395 where the horn sounds the tonic chord in Eb major while the violins sound the dominant seventh chord. oboes.
two flutes. Development. The Exposition does not end with a finalcadence but coalesces with the Development. Fragments of theme one are heard on a diminuendo until at measure 394. of the long coda which ends the movement The
now Exposition repeatsverbatim. hundred and the dissonant chords upon the weak beats which measure twenty-third until at the one hundred and twenty-eighth obscure the tonality measure
dominant the dominant inversion in the seventh chord in itsfirst
measures. potentialities
of the second theme in
a
is very little used which is an
unusual circumstance
note.the horn again theme i but this time in F (measure 408). two trumpets (in e-flat). subsidiary tossed around
harmony in the key of b-flat preceded in the forty-fourth of b-flat is only measure by augmented sixth chords. 181 radical dissonances The also to deserve measures especially. two-four. 185.
by
a
modulation
to
. two three horns (ine-flat. The Development consists of the unfolding of the The material of the first theme and the subsidiary theme.
The
motive
is
of a among the different instruments until the entrance theme at the forty-fifth This theme starts with measure. double bass. climax for full orchestra at measure to a fortissimo transitionally.
measure
i
338. is the chief theme is sounded by the cello piano but Theme i which
is Symphony (Eraica)
scored for two
introduced
by
two
tonic forte
chords
by
full orchestra.130 The
MUSIC
COMPOSITION. but changing)^ clarinets (inb-flat). An Episodein E-minor commences at measure 384. for but above all. example.

THE
SONATA
FORM.)
close
in"b. Notice the insistence upon dominant harmony in the home key commencing at the measure 681. 552 coalescing It is an Form
468 but this time
fifth lower than in the
example of one of Beethoven's contributions
a
to the Sonata
but a complexpart of appendage Notice that the principal the movement. Commere
or
and is not
termination
at the
measure crescendo^
627.
Restatement themes of the
of
Further
opment develand
statement re-
and passages
introdttdng
theme. throughthe fourth measure
domineers with from the end. and continuing S3mcopation. The Recapitulation from the Exposition but not sufficiently The to destroy sidiary Subunity. theme is sounded firstupon the E-flat chords then upon the D-flat majorchord.) Rhapsodical pas" (Plural
transitions).
Two cbords main
tonic
theme Principal in and
in
("b) "b. These may
. the key of F. with
(Mono-Tonality with transitions.
in Eb. No modulating 569. themes the
to
of
Themes
ing bringment movea
TonaUty.
The
student should in Sonata Form. The theme
harmony
measure
448 but this time on re^pears at measure in E-flat. At measure 595 a new melodious passage in chromatic and mencing style lyric-like enters. A illustration of diagrammatic the structure of Eroka follows:
Diagram 13. subsidiary
Exposition.
"31
coalesce and the firsttheme Development and Rec^"itulation differsin many respects appears in E-flat major.
themes.
from here to the end of the movement
key of
onlyoccasional and temporary transitions. The connecting transitionalpassage
a
the dominant
conunences
at
The Exposition. The Coda commences with the Recapitulaat measure tion. inexpensive
are
ments move-
excellent
for this. in Here the dominant harmony C-majoris insistedupon until measure itprogresses to the dominant harmony in 573) where instead of resolving.we
are
led back the
to
the
main E-flat
and tonality. second theme enters at measure 468 in E-flat. and thirdly upon the chords are used until measure C-major chord. Transitional ity (Dual Tonal-
the
Development of and principal Episode.
analyzethe harmony and form of several
The Beethoven be obtained in
sonatas pianoforte editions. Compare the passage of dissonances conunendng at measure tion 526 with the passage in the Exposiat (commencing measure 123).sounded by cello and bassoon in xmison. Subsidiarytheme
Bby Second
theme in Bb.
igtB.

of the movements diagram shows the disposition medleys.
*The lacks unity which pot-pourri is
a
of all hecsstfryquality
arts. Peasant has more unity.
. The following The
overture popular
in the is frequently
of style
a
of Poet and Peasant. Such an overture as Suppe's Poei and this case the themes are original. Operatic consist of a selection of the one medleysusually
most
a no
finds one populartunes of a single opera althoughoccasionally selection consisting of times from various operas. or national songs.*
a
in of the movements following diagram shows the disposition selection from Mascagni'sCavaUeria RusHcana with the key together The
scheme: Diagnun
14.MUSIC
CX)MP09ITI0N. etc. The pot-pourri has
set form
and
no
value other than
a sensuous
one.
but in pot-pourri.
The
or Medley consists of Poi-paurri
a
selection of themes
from
an
in contrast to strung together opera. and folk national.. however. folk songs.
FREE
FORMS. another.
CHAPTER
THE MIXED AND
XX. than most operatic..

our
The Fantasia is a
Beethoven.Schumann. Bach. characteristicsof the early Fantasias was the development The principal of a theme by free imitation. including those of J.S. and in those of
presentday composers. Although the older composers including Kuhnau.
which is determined either
and context
of
by its titleor by a description printed upon the composition. rather than by abstract musical formalities.the mood. the term has come to be section of the Sonata Form. Couperinand Rameau.
Program
Music. of motives. may be found the older application of the term. works of the early and. as well as frequently to the development applied and inexcusably Fantasias may to the pot-pourri.
133
"S-
in which the composer gives free scope composition The form is wholly tained but unity is mainto his fancyor imagination.Program Music until the Romantic style Period.
environment
sicists. Interesting be found in the works of Mozart.
wrote
common
a
few small works of this kind. those of the earlyEnglish. later. composers. Since then.THE
MI^ED
AND
FREE
FORMS. the bigotry of musical theorists. istic characterby various devices such as the persistence In many etc.
form
Program music is instrumental music. and lack of breadth in the education of the so-called Clas-
. Bach. the immatured to the inadequacies and the of instrumental music. free.
did not become
a
The
state
of Program Music was late development due principally comparatively in the media of expression. of the instrumental rhythmicand harmonic figures.

of a Symphonic Poem phonic Poems. 4 horns.and no be had than the Symphonic Poems of Liszt and his successors. The compositionmay be divided arbitrarily Each part depicts a different phase of Lamarhowever.harp. a mood. vision.
and governed by the specific inspiration bemg empirical better for necessitates concrete such study can examples study. bassoons. 3 trombones. possession
Nature. into six parts played. or a composition picture. definite Modem to preler a to a more seem or inspiration composers less prosaic weaving of tones.
In the Pastoral of this type The form
owes
its form. when
him
of its tempests is over. fatal breath dissipates
where
fatal
by interrupted consumes lightning
one
storm. without pause.
The
Symphonic
Poem
is scored
for 3
follows:
. bass tuba. and when
''the
arms.134
MUSIC
COMPOSITION. harmonic. and much of the either realistic. obtain scores who For the benefit of those students of Sym" cannot is given. but the whole is founded principally upon and rhythmic guises.
man
the country?
Yet
cannot
long resign
with
to
himself to the kindly monotony
firstcharmed
in his companionship
to
trumpet'sloud blast has called him in of the strife. A diagram appear in various melodic. drums. regardless his of strength. Lamartine's
The
a
is founded composition translation of which
upon
a
of portion
MediiaUons^
prose
What
follows:
is our
lifebut
a
series of Preludes Love
to
the unknown
song. of the nature point of danger.by combat. Beethoven opened new paths and since its pxoductionthe listof programmatic music has grown. best music is now or characteristic. philosophy. descriptive.
Symphony. 2 flutes. and the usual strings. a brief analysis
Les Preludes
J
Fsanz
Liszt.
some
note
of which
is sounded
by death?
is the enchanted
are
dawn
of every
what
is the destiny where whose And
the first joys of happiness
not
whose its fair illusions." he rushes
to
the
order
gain.
2 obpes. themes which two tine's poem. 2 trumpets. They desire to express in their music the emoticms of their inner lifewhether kindled by literature. 2 clarinets. To a specific inspiration. cymbals. tympani. event.
its altar?
is the wounded
in the
to cahn
its memories
that does spirit lifeof peaceful which
not
seek.
the firstsolenm
but life. object.

Theme
3BD
(Allegretto pastorale f).
in
developed
Reminiscences
horns.
xsT
Theme
Recitative
for strings.
Development
1.
followed
by
transition.
and
h
"
u
horns.
a new
by
horns
and
answered with 2nd
by
strings and
Theme
2
Developed
and mood Sudden
union
theme.THE
MIXED
AMD
FREE
FORMS.
of theme and
horn.
horn.
Reappearance
theme
of
2Nd
Theme
In
violins.
theme
bassoons. dariof
nets.
full orchestra.
low
Theme
i
sounded trombones.
fortissimo
.
to
a
tuba. followed
to
by
the
wood
next
wind division. and
darinets.
of
followed motive
Restatement
clarinet. then
in
horns
and
violas. animato
trumpets.
oboes.
Leads
crescendo
(Andante
and the theme
V)
Leads
sounded
upon
a
by
bass
strings.
sounded
fortissimo by
wind.
oboe.
diminuendo violins of each and
third with
form
an
of
(f) sounded
and bassoons
by
at
second the end
cellos
echo
to
I
in basses
phrase.
Moduktes
E-major. wood
in
rhythm
violins.
PrincquJly
tempestuoso
next
of
theme
i
(Allegro
storm. trom-
I).
ma
non
txoppo
| and leading
Allegro
to
V)-
Suggests
(Quiets down
the
theme.
upon
maestoso
a
Motive
to
answered
a new
by wood
form of
wind the
same
(Andante
theme
bones.
then
Figures by
of
of
the
theme then
sounded tossed
first by around.
trombones. flutes.
Theme
2ND
Sounded
by
and
z
horns
and
violas
(C-V)*
to
a
Rei4)pears:
climax.
z
and
a
traniriticms. bassoons. and
2.
to
a
]).
Developed
transitionally leading
Fkee Recapftulation
(Allegro marziale.
tuba
CV). bassoons.
Reappearance
in
former
guise sounded
Ends
by
with
basses.
"35
Diagram
t6.

day. thy glories shine. so radiant.MISCELLANEOUS
EXERCISES. with farewell beam. Among the opening
we can
And
almost think
we
gaze
Through goldenvistas into heaven.
art.
fairand all things
are bright
And
thine!
When
day.
.
Compose
Moore:
a
choral for mixed
chorus
to
the
following poem
by
Thomas
Thou Thou
Art. O God. the lifeand
world
light
we
Of allthis wondrous Its glowby
see.O God. Are but reflections caughtfrom thee. Those hues. that make the sun's decline
Lord! So soft.
4. dela3rs clouds of even.C.
are
thine. itssmile by night. Where'er we turn.
dl Fifu.
Z49
^^
D.

a
Cadence. member of a chord. strain.
An active tone
or
or
chord has
more
lessdefinitetendency
to progress to another tone
chord.
"
The
result of the diatonic resolution to
a
unison of
a
voice part from the dissonant of the intervalof a second.
or
to be desired. S3rmmetry of outline is obtained with variety of composition to that style havingone Pertaining predommatingmelody accompaniedby other parts which supplythe Harmony.
"
ated situany two voices. called in most
era.
in any
The
term
is comparative.) (SeeCadencing Chordal it sounds. phrases.
"
constituent sections.and tonalities) periods.
"
dependsupon
"
A
tone
and environment.
A tone which is not finaland when
leaves something heard. {SteParalld Fifths. Form. Arrangement of the parts and elements (rh3rthms.
f
D. Opposed to polyphonic. culture.
P
7 "^-
o
G
D
o
a.
"
A
fallor close of
inflectionof rhythmic flow.
text books
interval.
of music
by
which
and unity.
"
. and
the amount
of
inherent activity
dissonant
Factor.) Dissonance. motion to fifth.
"
A tone which is a member
A
in progression
a
a
any distance apart other than fifth.
-I f o'fetr
G
^
D
6 4
V
X 8-7 o
m
6 D
e 6 6 8-7
.
"S9
50. Concealed Fifths. Homofhonic.'*
Fixed
Unison. 4
o
I
G
0
9
% 4
7
m
G
'|J J r E
APPENDIX
DEFINITIONS. themes.DEFINITIONS.
"
the
Technical
Terms
used
in
the
Text. of the chord with which
Resolution under Resolution. proceedin parallel
which
tones
A
of two mingling
or
more
with unrestful effect.
"
Tone.
i
Of
Active.

A group of notes from which a period.
"
The
resolution of
a
dissonant chord
to
the chord
whose root is situated a fourth above (ora fifthbelow)the root of the former chord. terminating of composition Polyphonic.
"
A
"
"
or other. A consummate changeof key which enters into the architectureof a composition. complete A portion of a period with a cadence.
MUSIC
COMPOSITION. etc. to that style Pertaining having two with one more independentmelodies simultaneously.
musical sentence.
A
Parallel
.
ToNE. an-
Opposed
Resolution. MoNOTONic.
to a progression or usage which has become Pertaining characteristicthrough constant the part of composers and on application is often opposed to logical theory.) apart proceedin parallel sths.) apart proceedin parallel
8ths.
"
to
homophonic.
r Cadencing
NoN-cADENcmG
a
Resolution.
"
A
in progression
which
any
two
or
voices situated motion parallel
an
(doubleoctave.
"
NoN-CHORDAL
A tone
which
is not
a
member
of the chord
with which it sounds.
A progression in which any two voices situated an motion to another (double octave. etc.
of a progression dissonant chord to another chord
to their proceedaccording
The
such
as
the permits
factors of the former to
tendencies.) apart proceed contrary or parallel (SeeConcealed Fifths. Modulation.
(ora
.
denotes non-choidal tones.
any two voices situated a fifth(ortwelfth. motion to another fifth. (ortwelfth. or composition may be developed.
RESOLUTION
OR
Progkession. Motive.) apart proceed in either contrary
to
another octave. A melodic germ. overnotes The symbol enThes3nnbol (X) placed dosed by parentheses of a non-chordal a chordal tone having a characteristic signifies
tone. Characterized by a single main key.
"
" " "
N.
"
Consecutive
octave
Octaves.
7-
Parallel
A
in which progression
in which any two voices situated a fifth progression in either motion to another fifth. movement.)
"
CoNSEcnriVE
Fifths.
"
Take
notice. Phrase.
octave octave.
"
A
resolution
or
of progression
chord to any chord other than the one whose root is situated a fourth above fifthbebw) the root of the former chord.i6o Idiomatic. harmonizing Period. etc.B. etc.

5th.
minor its its
3rd
minor
and
its and and
perfect
its
5th.
its
major
srd
and
its
perfect
Minor
5th.
"
A
A
"
characteristic transient of three
attribute
of
active
tones.
change
tones.
l6i
Tendency.
Augmented
a
root
tone.
"
A
chord
Major
Triad
consists
of
"
a
root
"
(or
fundamental)
tone.Diminished
of of
root
3rd 3rd
5th.
of
key.
a
its tone.DEFINITIONS.
major
its
augmented
.
Triad consists Triad Triad of consists consists
a
root
tone.
diminished
.
Triad. Transition.